Muddy gold lacquer flower pattern round box

[Hun Jin lacquer flower pattern round box]

Hun Jin lacquer flower pattern round box, Qing Yongzheng, height 11.5cm, caliber 22.8cm, foot diameter 17.9cm. The old collection of the Qing Palace
The box is round, flat top, arc wall, circle foot, and the cover and the box are connected with each other. The watch is painted with two-color gold paint, and the ground is made in dark color, and the drawing is made in light color. The center of the cover is decorated with a large flower, with eight branches and leaves radiating from the periphery, which are rolled up to the edge, and another round flower is painted between each two branches and leaves, forming a surrounding composition. The pattern outline is outlined with fine black paint. This is a decorative pattern, following the style of the Kangxi Dynasty. The upper and lower walls are decorated with four symmetrical lotus flowers. The red paint is sprinkled with gold. The center of the outsole is painted with broken branches and double peaches, and the upper part is lined with blue “Yongzheng Year” regular script
Muddy gold paint is one of the traditional painting techniques in China, which existed in the Ming Dynasty, but no real object has been seen yet. The practice of pure gold paint is to use one color of gold paint to make the ground, the other color of gold paint to decorate the pattern, and then use black paint to draw the texture on the gold pattern. These two methods are called “painting gold in the color of gold” and “painting gold in the black paint” respectively in the “Painting Record”. The practice of this lacquer box is in line with the literature records. According to the records, the amount of imitation foreign paint produced during the Yongzheng period was the largest, followed by painted paint, followed by filled paint, and the amount of muddy gold paint was the smallest. There are 8 such round boxes in the Palace Museum. From the aspect of appearance, it is a one-time work. In addition, there are three pieces, which are identical in technology, style and decoration of the lining, except that the pattern of the table is Bat Shou, which is slightly smaller. It is a pity that no corresponding production records can be found in the lacquerwork of the Qing Palace, but there is no doubt that they are the only representative works of the Hun Jin lacquer of the Yongzheng Dynasty.