In the Qing Dynasty, people already knew that to roughen glass, they must use something harder than glass, so they used water as a lubricant and mixed iron sand, gold sand and other things with a certain hardness into the bottle. The inner wall of the small glass bottle is ground into the shape of frosted glass by shaking it. Only in this way can the color be applied to the glass. This process is vividly called "shabu-ri". There are four major schools of interior painting art: Beijing, Hebei, Shandong and Guangdong. The Beijing School originated during the Qianlong period and is now a "Beijing Intangible Cultural Heritage Project".
When painting in an inner-painted pot, whether it is calligraphy or pictures, characters or landscapes, it must conform to the visual habits of human beings' left and right eyes. Therefore, when painting on the inner wall of the pot blank, use a reverse towards painting techniques. Of course, snuff bottles also have porcelain bodies, but they are no longer painted on the inside but on the outside, so the painting technique for porcelain snuff bottles is not reverse painting.
To paint on the inner wall of the bottle, you need to use a very small hook pen with a wolf hair on the end of the pen. When painting on the astringent frosted glass wall, the wolf hair is as stable as rice paper. After this general direction was determined, masters and works of various schools and styles emerged from the imperial palace to the private sector. The themes of interior paintings started from simple decorative patterns, and gradually developed to landscapes, figures, flowers and birds, and then inserted legends and myths with storylines into the pictures. After the painting skills matured, they further learned from the art of traditional Chinese painting and added a unique touch to each work. The inscription and seal make the pot with inner painting more and more appreciable, and also give this small vessel an elegant artistic taste, and the popular culture inherits the blood of elegant culture.
After transplanting the elegance of calligraphy and painting from the essence of Chinese culture into the inner-painted pot, during the Jiaqing period, this authentic imported product, full of Chinese artistic elements, entered the international political stage and was used as a symbol between countries. The most precious gift in reciprocity.
There is also an important part of the inner-painted pot called "hat". Finding a "hat" that matches the size, color and material of the inner-painted pot is also part of the collection.
Appreciating the inner-painted pot is not only based on its calligraphy and painting skills, but the shape of the inner-painted pot itself is also an important part of art appreciation. Based on the shape of each pot, the content, expression techniques, and inscriptions and seals are determined. Craftsmen with rich cultural literacy no longer copy the calligraphy and painting of celebrities, but come up with original calligraphy and painting works to establish their own reputation in this field. The status, layout, artistic conception and brushwork in literati calligraphy and painting finally achieved the comprehensive art of inner painting pot.
As an intangible cultural heritage of Beijing, the Beijing-style inner-painted teapot is the representative of the elegant style of inner-painted teapots. Since the Yuan Dynasty, Beijing has been the center of China's political, cultural and economic affairs. Its profound cultural heritage has created its producers. and the cultural taste of the appreciators. There is a common saying in the industry: "Ma Shaoxuan entered the palace and entered the house. He was an elegant and popular man who admired leaves Zhongsan. Zhou Leyuan was white and snowy in spring. Wu Changan was a versatile man in both civil and military affairs."
Ma Shaoxuan's masterpiece is in a pot as big as a thumb, written in regular script. The chapter "Jiucheng Palace" also includes the quintessence of Chinese culture with the theme of Tan Xinpei playing Huang Zhong; Ye Zhongsan is involved in flowers and birds, landscapes, figures, grass and insects, and erudition, and is good at Liaozhai Red Mansions. The inner-painted snuff bottle genre
The inner-painted snuff bottle is a traditional Chinese folk craft. In the 1960s, there were three major schools of interior painting art: the Jing School in Beijing, the Lu School in Shandong, and the Yaojiang School in Guangdong. Artists of the Beijing School use bamboo brushes and willow brushes to paint, and are known for their simplicity and elegance; the Shandong School uses hair brushes to paint, and their paintings are delicate and gorgeous. On the basis of inheriting the techniques of Ye Zhongsan, a famous veteran artist from the Ming and Qing Dynasties in Beijing, Wang Xisan Integrating the strengths of famous interior painting schools, Wang Xisan has formed his own unique style, which is known internationally as the "Ji School". Wang Xisan's works have profound artistic conception, vivid charm, rich simplicity, rich line drawings, elegant and coordinated colors, and rigorous and appropriate layouts. , elegant style and workmanship.
The snuff bottles he painted were not only exquisite in technique, but also showed a wide range of themes: landscapes, figures, flowers, cordyceps, etc., which expanded the scope of materials for inside painted bottles. Whether it was figures, flowers and birds, or landscapes, he strived for excellence, accuracy and lifelikeness. In recent years, Wang Xisan has been constantly innovating in arts and crafts. His products include an inner-painted pot, an outer-painted pot and an inner- and outer-painted pot. The painting themes include landscapes and landscapes. , figures, insects and birds, flowers and plants, and expanded to the Great Wall, Shanhaiguan, Forbidden City, Summer Palace, Zhengding Buddhist Temple, Zhaozhou Bridge and other places of interest; the works have been sold to dozens of countries and regions on five continents and have become treasures that collectors are competing for. .