The ancient jade art includes jade articles of the Ming and Qing dynasties (1368-1911). It can be known from the large number of existing physical objects and documents and archives that it has left the artistic track of both Ning and Yuan-shaped gods, and returned to the direction of commercialization, furnishings, decoration, and literary play, and there has been an abnormal distortion and alienation. This is the emergence and development under the influence of Chonggu, Mugu, antique, and ancient thoughts, so I call it the jade art of ancientism. Of course, it is by no means a simple retro-artistic imitation. This kind of pseudo-apocalism is common in paintings, sculptures, and various arts and crafts, but the forms of expression are not the same, but the basic trend is the same.
In the early Ming Dynasty (Hongwu-Tianshun, 1368-1464), the jade was still a fine work, and the court used jade. Zhu Yuanzhang followed the Tang system and abolished the Yuan Dynasty costumes, and restored the Tang Dynasty clothing system and the jade. The royal collection of the Yuan Dynasty court and the imperial court used in the Hangzhou Yugong of Zhejiang Province used jade. The tomb of Wang Xingzu in Nanjing (1371) was unearthed with gold buckles and empty dragons and dragons. The gold-inlaid white jade ganoderma lucidum strips unearthed in Zouxian Zhutao Tomb (1389), Shan Xuan Yugui, Sapphire Golden Dragon and White Jade Cup are all Ming The leader of the early jade shows the legacy of the Song and Yuan Dynasties, but this is only the end of the realist approach. The Qing Dynasty's old white jade carvings, the dragon belt ring and the white jade dragon head are the representatives of the court jade articles of Yong Xuan (1403-1435). The work is strict, vivid and energetic, and it is the standard form of the Ming Dynasty. This was followed by the ambiguity period of the Ming Dynasty (1436-1464), and the artistic level declined.
In addition, some gold jade gemstones were also unearthed in the tombs of the outer tombs and the tombs of the tombs in the southeastern part of the country. This is due to the style of the times. It seems that there is no distinction between respect and honor, and the people are salty. Different materials only have advantages and disadvantages. Rough. This new tendency has affected the Qing Dynasty. The jade in the late Ming Dynasty is mainly the jade in the Wanli era. The art lacks elegance but has a rich atmosphere. The work is not exquisite, but also has the beauty of sultry and vigorous and antique charm. The folk jade handed down to the world has many vulgar workers and few Seiko workers. The different animals are carved with inferior jade and burned ancient, dyed, chasing the ancient scent of ancient jade, such as corpse ancient, black lacquer ancient, Tugu, Qugu, etc., and the ancient jade appreciation to the Kushiro of the first æ²å¾·å¾·, this is It is regrettable for future generations.
In short, the Ming Dynasty jade is returned to the art and crafts by the art road of the Song and Yuan Dynasties, and the brand of its era is very clear. Needless to say, this is a roundabout and twist in the history of Chinese jade art. In a sense, it can be said that it should not happen once but inevitably "regression."
After the Qing Dynasty entered the Central Plains, although it claimed to be righteous, but its service was based on the Manchus, the abolishment of the Wu yarn, the dynasty and the jade belt, and the adjustment of the jade with the court. In the more than one hundred years of its unification throughout the country, the Mongolian Erlut Junggar partial cracked elements control the vast areas of the northwest, and the central government has resisted courtesy, often invading Ganqing, Khalkha Mongolia and Chahar. The jade road was blocked, Kunshan jade could not be transported into the mainland, affecting the normal development of jade articles in the pre-Qing and mid-term, and there were few jade articles handed down. Typical early jade wares, such as the jade chicken heart and the jade chicken heart that were unearthed from the tomb of the young girl, the black cherished tomb in the Kangxi period, the antique jade double ear cups and the é› å¹´ 制 玉 夔 〠Black jade ring, Uruth jasper made by Uighur jade. It can be seen that the court jade in the early years of Emperor Kangxi has been exquisitely beautiful, and it is comparable to the Warring States jade. The Suzhou antique jade is made by type, and it is fake and antique. The jade wares of the Yongzheng period are simple and elegant. The large plate of Erut Jasper is similar to the shape of the shallow-bellied gold and silver basin in the Ming Dynasty. The mill is slightly thicker than the jade in the interior. In the early Qing Dynasty, several styles of jade articles coexisted, and refined and elegant artistic styles have been formed.
The prosperity of the jade articles of the Qing Dynasty began in the 25th year of Emperor Qianlong (1760), that is, after the Qing army settled the Huai and Hui dynasties, after exercising the rule of power in Xinjiang. In the spring and autumn of Xinjiang, Gongyu has a total of 4,000 kilograms. Since then, the inner court jade has ample jade, and the jade workshops in Suzhou, Beijing, Jiangning, Yangzhou and other places have also obtained a batch of Hetian Meiyu and Qianlong from the private traders. Emperor Hongli took a palliative attitude towards this and listened to his own will, without any investigation. However, the road to art in the Qing Dynasty was not straight. It can be understood from the Qianlong imperial poetry that Hongli has contributed to the prosperity of the jade articles of the Qing Dynasty, focusing on his correctness, correcting the "Yu Er", advocating the ancients, advocating the meaning of painting and promoting the jade, he not only He made personal decisions on the large jade pieces such as the inner court Yuxi and Shanzi, and also gave some instructions on certain details. The entire grinding process of the Dashanzi of the Mitata Mountain Jade Dazhao Water Map shows his love for jade and the court jade. concern.
The jade art of this period (1760-1812) is like a broken bank of water. It was not only the golden age of the jade in the Qing Dynasty, but also the highest peak in the history of ancient jade in China. From a global perspective, the art of jade art does appear to be beautiful and colorful. Since Hongli advocated the ancients, in the scope of its influence, the antique jade-shaped jade articles were successively published. The antique jade articles made by the court were openly titled "Da Qing Emperor Qianlong Antique" or "Qianlong Antique" Lishu Gold, which reproduces the bronze pottery. Park Mao's quaint artistic charm. This is different from the folk pseudo-ancient, it is itself a work of art. Because the people who appreciate jade and jade in the Qing Dynasty loved the twilight, they said that there are thirteen colors, and the beauty of the twilight is splendid, and it is impossible to reinforce, so that the puppets have made a lot of effort especially for artificial defamation. It is also very successful, and it can be a bit confusing. It can be said that the fake ancient pieces are used as shackles, and there is no sham.
The ancient jade color is a secondary color that is buried in the ground and is formed by chemical elements and water and soil erosion. It is one of the basis or important reference conditions for the collectors to break down. Twilight as a color beauty may be a long-term preference for collectors. For example, in the early Ming Dynasty, Cao Zhao once said: "The ancients are also the best in the ancient corpse." This "old man" does not know what the age of the dynasty, but at least it indicates at the beginning of the Ming Dynasty. People have paid attention to bloody before. At that time, there were several names such as “Black Paint Ancientâ€, “Yi Guâ€, “Yu Gu†and “Tu Guâ€, and they were judged and so on. The Qing Dynasty regarded the twilight as the primary aesthetic standard for measuring ancient jade, and put the jade virtue behind it, which deviated from the jade principle of Confucius's "first deeds". A good æ² æ² å¤ å¤ å¤ å¤ å¤ å¤ å¤ å¤ å¤ å¤ å¤ å¤ å¤ å¤ å¤ å¤ å¤ å¯èƒ½ å¯èƒ½ å¯èƒ½ å¯èƒ½ å¯èƒ½ å¯èƒ½ å¯èƒ½ å¯èƒ½ å¯èƒ½ å¯èƒ½ å¯èƒ½ å¯èƒ½ å¯èƒ½ å¯èƒ½ å¯èƒ½ å¯èƒ½ å¯èƒ½ å¯èƒ½ å¯èƒ½ å¯èƒ½Therefore, the Qing Dynasty antique jade jade also used to burn the ancient æ², but more cautious, just a point. However, it is not necessarily the case in Suzhou and other places. For example, the Qingyu Shuangying ear cup, which is appreciated by Hongli, is recorded by the grandfather Yao Zongren, according to the article in the Jade Cup. However, the author has not succeeded in burning this cup. Bilu. However, the same sapphire double-eared earrings made by Yao Shi was more successful.
The requirements of the Hongli time for jade can be summarized by the words "fine" and "ya". The so-called "fine" means that the carving process is exquisite and rigorous, and it is relatively inferior to the rough, slender, cumbersome, Huaying and other inferior work; "Ya" refers to the simple, ancient, simple and elegant charm, which is aimed at Suzhou. The artistic standard proposed by the “common†and “common style†of the jade and jade. The word "é›…" can be analyzed into several aspects such as "good jade carving", "ancient simplicity", "advocating painting" and "respecting jade". Although these four sentences seem to have contradictory appearances on the surface, they are actually unified under the premise of returning to the original and promoting fineness. Therefore, Hongli’s lifelong opposition to jade (including ancient jade and new jade) is “the plaything of Hua Tuo’s eyes and earsâ€, which is difficult for private collectors to do.
It can be seen from the existing jade articles in this period that some of the decorations are simple, the carvings are simple and concise, and they are finely polished. They fully show the unique essence of Hetian jade's moist and crystal clear; some admire the fine carving, the smashing skills set history Dacheng has demonstrated the beauty of craftsmanship. The two promote each other, making the jade shape and pattern simple and convenient, and obtaining perfect artistic beauty. Looking at the jade wares of the Qianlong dynasty, the collection of the beauty of one is less, and it is a god product; there are still more desirable beauty, which is set as a fine product; nothing is good, no beauty is a bad thing, not a minority. In short, the art of jade art in the Qianlong period was colorful, colorful and dazzling. We should distinguish between Liangzhu and Jingjing, and it is not appropriate to make a total affirmation or a total negation.
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