Intangible culture with Related Tags
Wood carving (rosewood carving)
Traditional red sandalwood carving techniques are mainly used in the production of traditional Ming and Qing Dynasty palace furniture. They represent the highest level of woodworking technology at that time and have special style characteristics. Red sandalwood carving is handmade, and its carving techniques are diverse, integrating various techniques such as line carving (positive carving, negative carving), shallow relief, deep relief, flat carving, round carving, hair carving, and openwork carving. The works are based on wood, carved instead of pen, and painted with knives. The composition is lush and full, the knife technique is vigorous and bold, and the picture is deep and far. The themes of the works are wide-ranging, mainly landscapes, flowers, birds and beasts, and antiques. Its patterns and patterns contain good wishes for good luck, many children and blessings, longevity, and a prosperous official career. The mortise and tenon structure carving used in red sandalwood furniture is even more precise and ingenious. No nails are used throughout the body, and it relies entirely on the mortise and tenon fit, and the parts are inseparable. Its precise craftsmanship and tight fit, without any room for error, give people a sense of seamlessness, which is beyond the reach of modern mechanical technology. The production of sandalwood carving artworks requires more than a dozen processes, including wood drying, cutting, sawing, assembly, manual pounding, carving, cleaning, polishing, waxing, etc. The production of a sandalwood carving work takes at least one year, and at most several years. With the changes of the times and the development of large-scale industrial processes, mechanical production has long penetrated into every link of traditional furniture manufacturing, and the traditional red sandalwood carving craft is facing the crisis of extinction.
Zhonghe Shao Music of the Temple of Heaven
Zhonghe Shao music originated from ancient Chinese Ya music, also known as Jiaomiao music. It is a ceremonial music that integrates ritual, music, song and dance. It was the music used in sacrifices, court meetings and banquets during the Ming and Qing dynasties. It is also the most typical court music in ancient China, with a long history. Because the ancient Chinese believed that "nothing is better than ritual to govern the people, and nothing is better than music to change customs and habits", and respected Ya music as "the correct sound of China", the central government of all dynasties established full-time officials and functional departments to be responsible for relevant music matters. In the early Ming Dynasty, Emperor Taizu Zhu Yuanzhang renamed Ya music Zhonghe Shao music, which has been used since the Qing Dynasty. The main characteristics of Zhonghe Shao music are: the use of pentatonic scale; one word and one tone, preserving and continuing the characteristics of pre-Qin Ya music; eight tones; music must have songs; highlighting the sound of bells and chimes, reflecting the characteristics of "golden sound and jade vibration". The Temple of Heaven Shenyue Office is located in the west of the outer altar of the Temple of Heaven. Founded in the early Ming Dynasty, it was a place for the training of musicians and dancers and the performance of ritual music. It was originally named Shenleguan, and was renamed Shenleshu in the 19th year of Emperor Qianlong's reign in the Qing Dynasty. The occurrence and development of Zhonghe Shao music in ancient China have been passed down from generation to generation. It was not until the demise of the Qing Dynasty that Zhonghe Shao music fell into silence. In the 1980s, with the re-recognition of Chinese traditional culture, Zhonghe Shao music gradually revived. In September 2004, the restoration of the Shenleshu of the Temple of Heaven was completed, and the Temple of Heaven established a special agency to manage and protect the Shenleshu.
Gold lacquer inlay and decoration technique
Gold lacquer inlay is an important category of traditional Chinese lacquerware craftsmanship, with a history of more than 7,000 years. Beijing is an important lacquerware production area in my country's history. The rise of official handicraft workshops such as the Paint Bureau of the Yuan Dynasty, the Orchard Factory of the Ming Dynasty and the Imperial Household Department of the Qing Dynasty laid the foundation for the development of Beijing lacquerware. Now Beijing's gold lacquer inlay has directly inherited and developed the lacquerware manufacturing art of the Ming and Qing courts in many aspects, from craftsmanship and techniques to artistic style. Beijing's gold lacquer inlay lacquer decoration crafts are diverse, with a wide range of themes and rich and colorful artistic expression techniques. Among them, the inlay products have clear layers and are exquisite; the painted products are colorful and brilliant; the carved and filled products have smooth lines and are magnificent; the carved gray products have sharp blades and vivid charm; the broken pattern products are simple and generous, elegant and graceful; the tiger skin lacquer products are colorful and close to natural. According to the purpose, Beijing's gold lacquer inlay products include utensils, furniture, screens, plaques, wall decorations and other types. This ancient handicraft has a high artistic research value. Its products are convenient, practical, and collectible, and are deeply loved by consumers. After the founding of New China, especially since the reform and opening up, Beijing's gold lacquer inlay has made great progress, but it is also not without worries. There used to be more than a thousand workers engaged in gold lacquer inlay. Now the old workers have retired one after another. At the same time, due to the difficult working conditions and low wages, most young people are unwilling to choose this profession. Currently, only 160 people continue to engage in gold lacquer inlay. This ancient skill is facing the crisis of being lost and needs to be protected and inherited.
Inkstone making technique (Tanzhe purple stone inkstone carving technique)
good inkstone must first have the right stone. There is a kind of purple stone suitable for making inkstones on the western mountain of Tanzhe Temple Town in Beijing. The inkstone produced is called Tanzhe purple stone inkstone. The texture of purple stone is dense and fine. Because it contains iron, it is deep purple like liver. According to research, the court of the Ming Dynasty once mined purple stone here. The supervision platform built at that time and the stone tablet engraved with "Neiguanjian Zishitangjie" have been preserved to this day. The appraisal report shows that Tanzhe purple stone was formed 200 million years ago. The original rock belongs to the same category as the stone materials of Duan and She inkstones. The andalusite contained in it has a uniform particle size of only 0.010.06 mm. It is used to make inkstones. The ink is fast, the ink is fine and does not damage the brush. A good inkstone stone, press it with your thumb for a while, and a white mark will appear when you take your finger away. This is formed by the liquefaction of hot air on the hand. The purple stone is extremely fine and will not seep down, which meets the standard of a good inkstone stone "breathing into clouds, long time without drying up". The production process of purple stone inkstone includes quarrying, cutting blank stone, determining size, designing, chiseling, shoveling, grinding, and matching. When carving, hold the chisel, put the handle against the shoulder, and push with the shoulder to carve out the texture. There are various carving techniques, such as round carving, openwork carving, relief carving, and intaglio carving. The most challenging carving technique is the water ripples. The water ripples are carved out in a clear and uniform manner, and the water ripples are natural and smooth. The finished product of a good Tanzhe purple stone inkstone is delicately carved, without grinding marks or flaws. In terms of design, the Tanzhe purple stone inkstone imitates the ancient inkstones of the Ming and Qing dynasties. The shape is simple and elegant, the decoration is concise and beautiful, the knife technique is powerful, and the lines are bright and smooth. It has imitated classic inkstone shapes such as the Qianlong Shigu inkstone, the Ji Xiaolan Jiujiu Yanzhai Collection inkstone, and the Chaoshou inkstone. The themes are rich, and there are many decorations such as landscapes, animals and plants, and antiques and literati poems. Natural stone products can also be used to create patterns, such as using rough stone skin to represent rocks or pine trunks, using fish brain jelly to represent white clouds or white waves, and using insect bites to represent caves. With the change of writing methods, the Tanzhe purple stone inkstone has been passed down to this day. In addition to its practical functions, it also has collection value, allowing people to feel its charm in addition to writing.
Heritage with Related Tags
China Red Sandalwood Museum
Going east along Chang'an Avenue, on the north side of the Gaobeidian exit of the Beijing-Tong Expressway, you will see a large group of Ming and Qing Dynasty buildings, which is the China Red Sandalwood Museum. It was built by Ms. Chen Lihua, member of the National Committee of the Chinese People's Political Consultative Conference, Chairman of Hong Kong Fuhua International Group, Honorary Doctor of Humanities of Savannah College of Art and Design, and Vice Chairman of the Board of Directors, with an investment of more than 200 million yuan. It is a key project of Beijing to pay tribute to the 50th anniversary of the founding of the People's Republic of China. The China Red Sandalwood Museum is the first and largest private museum in China that integrates collection and research, display and exhibition of red sandalwood art, and appreciation of traditional Chinese classical furniture. It fills a gap in the Chinese museum community. The China Red Sandalwood Museum itself can be called a perfect and spectacular handicraft. The design of this 25,000 square meter museum is grand and exquisite, with an antique and modern atmosphere. The main entrance alone uses more than 400 cubic meters of wood, and all of it is a pure wooden structure. The four pillars supporting the gate are 8 meters high and 0.6 meters thick. Both the scale and the material are rare in Beijing's antique buildings. The five-story main building uses the grinding brick joint technology, with no error of millimeters. The square in front of the museum, which is more than 1,000 square meters, is paved with large blue bricks, which were only used by the royal family in the past and then soaked in tung oil. Chen Lihua hired woodworking experts, tile experts and painting experts who worked in the Palace Museum at the beginning of the founding of the People's Republic of China to guide the entire project. These experts have always been called "living national treasures". The exhibition hall of the China Red Sandalwood Museum covers an area of 9,569 square meters. There are central halls, exhibition halls, conference halls, VIP halls, multi-function halls and temporary exhibition halls, where you can enjoy: the Ming and Qing furniture collected by Director Chen Lihua for decades; the fine traditional furniture produced under the careful guidance of Director Chen Lihua for nearly 30 years; Buddhist cultural artworks; traditional furniture materials, shapes and structures; carving techniques; in addition, you can also appreciate the miniature Chinese ancient architectural landscape: the corner towers of the Forbidden City, the Qianqiu Pavilion and Wanchun Pavilion in the Imperial Garden of the Forbidden City, which fully demonstrate the royal style; the archway of Longquan Temple in Wutai Mountain, Shanxi, with 320 dragons in different postures, exquisite round sculptures, reliefs and openwork sculptures, which are rarely seen in the world; the quaint Beijing courtyard, the Feiyun Tower in Shanxi that rises into the sky, and the large-scale architectural model of the ancient city gate of old Beijing... These artistic treasures that convey oriental charm are all made of precious red sandalwood. Over the years, China Red Sandalwood Museum has been adhering to the business philosophy of "inheritance, development and innovation", working silently on inheriting and promoting the traditional Chinese furniture art, and making it flourish. It is precisely because of the foresight of Director Chen Lihua that the red sandalwood carving craft, which was on the verge of extinction, has been rescued, protected and innovated. In September 2011, the "red sandalwood carving skills" applied by China Red Sandalwood Museum were included in the third batch of national intangible cultural heritage list by the State Council. In 2012, it was designated by the Beijing Municipal Government as a demonstration base for the productive protection of Beijing's intangible cultural heritage. As an important cultural landscape in Beijing, China Red Sandalwood Museum was rated as a national 4A-level tourist unit by the National Tourism Administration at the end of 2003. It has received tourists and dignitaries from all over the world. Former German Chancellor Helmut Kohl, former Romanian Prime Minister Adrian Nastase and his wife, Thai Princess Maha Chakri Sirindhorn, Sri Lankan Speaker Chamal Rajapaksa and others have visited China Red Sandalwood Museum and happily left messages, giving high praise and appreciation to the museum. In order to better spread the traditional Chinese red sandalwood culture overseas, the China Red Sandalwood Museum has held a tour exhibition with the theme of "The Secret of Red Sandalwood" in the United States, Japan, South Korea, Malaysia, Taiwan, Guangzhou and other countries and regions, introducing China to the world and displaying the traditional Chinese classical furniture culture, which has been highly respected and recognized by local people from all walks of life. At the same time, the China Red Sandalwood Museum has also built a bridge for cultural exchanges between the East and the West in another form. Several world-class museums, including the Palace Museum in Beijing, the Dresden State Art Collection in Germany, the Smithsonian Institution in the United States, the Chateau de Chambord in France, and the Kyushu National Museum in Japan, have collected large red sandalwood art treasures from the China Red Sandalwood Museum. Zheng Xinmiao, then Vice Minister of the Ministry of Culture of China and Director of the Palace Museum, praised this initiative for making an important contribution to the spread of Chinese traditional culture to the world. In the future, the China Red Sandalwood Museum will continue to take the protection of historical heritage and the promotion of Chinese traditional culture as its mission. It will fully and highly display the charm of red sandalwood art and reproduce the glory of traditional Chinese furniture!
Junzhen Museum
Junzhen Museum is a national A-level tourist attraction. It is the first private museum in Tianjin. It is a cultural relic protection unit in Tianjin. It is located at No. 8 Tiyuan North Road, Hexi District, Tianjin. It is a thematic museum that displays wooden furniture from the Ming and Qing dynasties. Junzhen Museum is one of the three "edible museums" of the "Yueweixian" Cultural Group. It mainly collects ancient Chinese furniture relics. In the cold winter, you can eat hot pot while listening to the waiter explain the knowledge of these furniture relics in Junzhen Museum, which is also a wonderful enjoyment. As an "edible museum", in addition to some furniture relics arranged in the hall, the names of the individual rooms in Junzhen Museum are also very distinctive, such as "Qinfang Garden", "Xingye Pavilion", "Ouxiangxie", etc.