Bronze ware with dragon pattern
The Kuilong pattern was a common pattern on bronze ware. The Kui dragon pattern referred to a side image of a dragon that crawled. It had one foot, two feet, or no feet. It usually appeared symmetrical. It was often used as the main decorative pattern from the middle and late Shang Dynasty to the early Western Zhou Dynasty, decorated under the mouth of the object, or as a secondary decorative pattern, decorated on the ring foot. It was also one of the main decorative patterns on the bronze ware in the late Shang Dynasty and the Western Zhou Dynasty. Its shape was mostly a long strip with a mouth open and a curled tail. Its shape was suitable for the structural lines of the bronze ware. It was mainly straight and supplemented by arcs, which had an ancient beauty. Some Kui Dragon tattoos had fin-shaped legs under their abdomen, while others didn't. There were many variations and they were flexible. Sometimes, it was used as an auxiliary pattern to fill the blank on both sides of the taotie pattern, or it could also be used as a continuous decorative belt. The two continuous patterns arranged with the circular vortex pattern were called the fire dragon pattern. Some Kui patterns had developed into geometric decorative patterns, with great changes. Common Kui patterns were divided into two parts, or diagonal lines, with a Kui head at each end. In the records since the Song Dynasty, on bronzes, any reptile-like object that represented a foot was called Kui or Kui Long. This was related to the ancient records of " Kui One Foot ". Legend had it that the Kui Long only had one leg, but because this name had been used for a long time, and there was no better name for the time being, it was still used. The novel " Gilded Palm " is equally exciting. Everyone is welcome to click and read it!
Bronze with dragon pattern
The coiling dragon pattern was one of the decorative patterns on bronze ware, also known as the " coiling dragon pattern." The dragon's torso was curled, with its head and tail connected, or in a spiral shape. The dragon's body was coiled into a circle with the dragon's head as the center. It was often decorated in the center of the plate. It was popular at the end of the Shang Dynasty and the beginning of the Zhou Dynasty. From the Yin Ruins to the Warring States Period, bronze ware had such decorations, but the image structure was different. Sometimes, the dragon's head would be made into a three-dimensional shape to make it more artistic. When used individually, this type of coiling dragon pattern could also be called the " Coiling Dragon Pattern ". The novel " Gilded Palm " is equally exciting. Everyone is welcome to click and read it!
square-shaped jade ware with dragon pattern
The square dragon pattern jade ware had a Qing Dynasty square dragon pattern jade belt plate, 8x and 5x wide, with elephant nostrils and cut marks on the back. It was made of Hetian jade, and its quality was 9.5. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
gilded bronze ware
Gold gilding was a traditional metal decoration technique that had been produced since the pre-Qin era. It was still popular among the people today and was also known as fire gilding or mercury gilding. The technique of gilding bronze was invented during the Warring States Period and had a history of more than 2,000 years. It was quite popular after the Eastern Zhou Dynasty and the Han Dynasty. It was a praiseworthy decorative technique on the surface of bronzes at that time. It was called gold coating, golden coating, gold coating, gold coating, and gilding. In the Song Dynasty, it was called gilding. In the Ming Dynasty, there was a gold-plated copper ear-shaped vase. It was made of refined copper and was made by the palace. It was gilded. The body was slender and beautiful. The mouth was shaped like a trumpet. There were two movable ring ears. The neck and abdomen were engraved with Kui phoenix patterns, and there were cloud crane patterns under the abdomen. There was also a bronze gilded halberd ear-shaped furnace. The halberd ear-shaped furnace was made in the style of Song porcelain. The ears were like halberds, symbolizing the defense of the country and the fairness of justice. In the Western Han Dynasty, there was a gilded bird-shaped bronze ware inlaid with gold. It was unearthed in 1968 in the tomb of Dou Wan, the wife of Liu Sheng, King Jing of Zhongshan, Mancheng, Hebei Province. The bird held a jade ring in its mouth and stood on the back of the beast. There were bean-shaped utensils on both sides of the bird's abdomen. The interior of the utensils was decorated with gilded persimmon patterns, reflecting the superb bronze casting technology at that time. In addition, there were many gold-plated objects in different dynasties, such as the hollowed-out gilded gold and silver cushion with the inscription of "Thousand Autumn and Long Live" in the Five Dynasties, the gold-plated silver plate with the pattern of eight immortals in the Southern Song Dynasty, and so on. The novel " Gilded Palm " is equally exciting. Everyone is welcome to click and read it!
A Bronze Artifact with a Yazi Pattern
As early as the Shang Dynasty, patterns similar to the yazi pattern had appeared on the swords unearthed. These patterns were mostly the Kuilong pattern and the Taotie pattern on bronze ware. The novel " Gilded Palm " is equally exciting. Everyone is welcome to click and read it!
The maintenance of gold and bronze ware in the museum
The maintenance of the gold and bronze ware in the museum can be carried out in the following aspects: 1. ** Cleaning ** - For general dirt, it can be cleaned with distilled water. If there is grease on the bronze ware, you can heat the distilled water appropriately, and use a cleaning agent (such as soap water, dishwashing liquid, etc.) to soak the ware for a period of time before cleaning it. However, the ware that has been treated with the cleaning agent should be rinsed with distilled water many times to prevent the acid and base components of the cleaning agent from affecting the ware. - For harder attachments, you can't use metal or hard objects to remove them by force. You can use tools made of bamboo or wood to peel them off bit by bit. - For copper ware with holes or hollowed out, the gaps where dirt is hidden should be gently wiped out after being soaked with a soft cloth. The washed utensils should be placed in a cool and dry place. After the water evaporated and dried, they should be stored. - To remove the dust on the bronze ware, use soft cloth, soft brush, soft hair duster, etc. For heavy and irregular bronze ware, use vacuum cleaners and other machinery to remove dust. 2. ** Use of skincare agent ** - Can be applied regularly with professional copper products maintenance agent. Before applying the maintenance agent, the surface of the bronze ware should be thoroughly cleaned and dried. This helped to remove the oxide-layer and restore the brightness of the bronze. 3. [Storage environment] - To control the temperature and humidity of the storage environment, the place must be kept dry. The temperature is recommended to be controlled between 18 degrees and 24 degrees. Moreover, it was necessary to avoid contact with moisture and air. Long-term exposure to moisture and air would accelerate the oxidization process of gold and copper, causing the surface to turn black or produce spots. They could be stored in sealed bags, moisture proofing agents, or storage boxes to reduce the possibility of oxidization. 4. ** Avoiding Damage ** - Do not use sharp or rough objects to clean the gold and bronze ware to avoid scratching the surface. At the same time, excessive fiddling and touching should be avoided to reduce the attachment of grease and dirt. 5. ** Special treatment ** - The possible dirt spots, rust spots, grease stains, sweat stains, etc. on the surface of the gold and bronze ware should be properly handled. These substances not only damaged the objects, but also might be bad for the collector's health. They had to be completely removed when cleaning. - Copper anti-tarnishing agent can be used on the surface of gold and bronze components and materials. This anti-tarnishing agent has good anti-rust effect, does not damage the work piece, is convenient and fast to use, does not burn, does not contain toxic substances such as NaNO3, and is relatively safe and environmental friendly. It was also possible to cover the surface of the copper product with a protective layer to prevent rust. For example, a layer of metal that was not easy to rust, such as copper, tin, titanium, and so on, could be plated by plating or hot-dip plating. The novel "Gilded Palm" is equally exciting. Everyone is welcome to click and read it!
Go to Beijing to protect the bronze ware
Go to Beijing to protect bronze wares. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
Jade ware with silkworm pattern in Shang Dynasty
In the jade ware of the Shang Dynasty, the silkworm pattern was an important decorative pattern. For example, on the jade cong, there are four quadrants carved on the edge of each section. The upper and lower ends of the silkworm pattern are opposite to each other. Its simple shape and protruding eyes are the common forms of silkworm patterns in the Shang Dynasty. During the Shang Dynasty, this period was the first peak period of jade making in ancient China. Many jade articles were unearthed from the tombs of the Shang Dynasty, such as the Yin Ruins in Anyang, Henan Province. Although there was no more accurate description of the total number of silkworm-patterned jade articles in the Shang Dynasty, these archaeological discoveries showed that silkworm-patterned jade articles existed at that time. Moreover, from the archaeological examples such as the jade unearthed from Fuhao's tomb, it could be inferred that the jade production of the Shang Dynasty was relatively mature. The silkworm-patterned jade was also a manifestation of the jade culture at that time. Its production process and modeling characteristics were similar to other jade articles at that time. For example, the shape of the animal-shaped jade carving of the Shang Dynasty had the characteristics of " choosing the style according to the material " and " applying the art to the material ". <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
Western Zhou jade ware Kui pattern
The decorative patterns of Western Zhou jade ware were often expressed by concise and strong line carvings, and the Kui pattern of Yin line or double hook Yin line was its representative pattern. Kui, according to ancient legends, was a strange animal that had one foot like a dragon. The Kui pattern on jade was first seen in the Shang and Western Zhou Dynasties, and the Kui pattern occupied an important position in the jade carving craftsmanship from the Shang, Zhou and even today. During the Western Zhou Dynasty, the Kui pattern could appear on jade objects such as the Kui pattern handle jade knife. The Kui pattern handle jade knife was light white in color, flat and long, thin blade and thick back, sharp tip, Kui shaped handle, and a round hole on the upper end of the tail. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
The cattail pattern on the jade ware of the Han Dynasty
The cattail pattern of the Han Dynasty jade ware was made by rolling iron weights. It was formed by combining six bases and triangular rhombus platforms, forming a regular combination like a cattail mat, which was very different from the net pattern. It was born in the late Spring and Autumn Period and early Warring States Period. In terms of the social hierarchy at that time, the Rites of Zhou recorded the concept of the six states of jade, such as Ruibi. Pu Bi was held by barons and belonged to the most basic level of the scholar-bureaucrat class. When offering sacrifices to heaven and earth or remonstrating in the palace, they had to hold jade articles corresponding to their own level to regulate and clarify the social hierarchy. The appearance of cattail vein was related to cattail grass, which had many uses during the Han Dynasty, such as eating, weaving cattail mats, and using cattail pollen as medicine to smoke mosquitoes. At that time, people were grateful for the gift of heaven and made cattail patterns on the surface of jade articles to worship heaven, praying for a bumper harvest and prosperity in the coming year. Each cattail pattern jade represented the deep feelings of the ancestors for heaven and earth. The grain patterns and cattail patterns that were commonly seen on jade walls had a strict social significance. First, the jade was used to worship heaven and earth. When people worshipped, they knelt on the ground and raised the jade above their heads. When the sun shone directly on their heads, it meant that the thoughts and decrees of the worshipers came from heaven to educate the people. Second, the six corners of the cattail pattern represented the ancient six gods (Gouchen, Tengshe, Qinglong, White Tiger, Rosefinch, Xuanwu), while the round jade represented heaven. The ancients held the jade with cattail pattern to pray to the six gods for gratitude and blessing. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
The most peculiar bronze ware of the Shang Dynasty
There were many strangely shaped bronze wares in the Shang Dynasty. For example, the Fierce Tiger Man-eating You was shaped like a big tiger with its bloody mouth open. It held a person in its palm, and the person's head was exposed. Its expression was peaceful. The tiger and the person were one, as if the tiger was protecting the person. There was also the bronze gong of the Shang Scale Carp Tiger Owl, which had a unique body. The tail was shaped like an animal, with a small head, a protruding snout, small round eyes, and ears standing on the top of the head. It was covered in scales, and even its head and face were covered in scales. It also had a pair of wings. In addition, the shape of the Sanxing Dui Bronze Mask was also quite strange. It was divided into three parts: the head, the face, and the ears. There were two eyes on the head, one in the middle of the face and the other above the ears. There was a small hole in the middle of the two eyes. This design feature was unique to the Sanxing Dui Bronze Mask. The novel " Gilded Palm " is equally exciting. Everyone is welcome to click and read it!