A treasure-appraisal maniac

Just as Jason said, when the oil paper was peeled off, there was still anti-shock foam inside, and it was not even a layer.

It seems that the person hired by the royal family is also a cautious person, and the protective measures are quite in place.

After all, this is a service to the royal family. It’s hard to explain when something goes wrong, isn’t it?

In addition, the royal family is a big financial backer. Although it has been in recession in recent decades, it is still a relative term. A camel is still so skinny that it is bigger than a horse, and it is 10,000 times more powerful than an average cow.

If such a big benefactor is satisfied, then money will come rolling in from now on!

The three layers of anti-shock foam were opened, and finally the true face of Mount Lu was revealed. Inside was a solid wooden box of huanghuali wood, with a side length of about sixty centimeters, nine dragon reliefs, and gold-wrapped corners. It was outrageously high-end. From the words on the box Judging from the relief pattern, it looks like a royal thing. ??

There was no lock on the box, so Lu Fei opened it directly. There were two objects of the same size lying inside, covered with apricot-yellow silk. Seeing this, Lu Fei was already a little excited.

After taking off the last layer of yellow silk, the real treasure came into Lu Fei's eyes. Lu Fei's eyes widened and his breathing became a little heavy.

Lu Fei was nervous, really a little nervous.

There are countless good treasures in his hands, and the one that can make him so excited must be a super big treasure. In fact, that's exactly what happened.

This is the famous cloisonné enamel Double Crane Incense Burner made by Emperor Yongzheng of the Qing Dynasty. This is a real super treasure.

This pair of incense burners is in the shape of a pair of cranes walking, looking back.

The body of the crane is hollow, inlaid with white glaze, a strip of blue glaze is applied on the back, and feather patterns are made of filigree. The beak of the crane is applied with dark green glaze and the top is red.

The wings can be opened and closed as a cover. The base is made of blue glaze chiseled enamel, and the base is decorated with green and white filigree enamel with waves.

This vessel has a realistic and majestic shape, fine decoration and inlays. It uses a combination of cloisonné enamel and chiseled enamel to demonstrate the rigor, perseverance and artistic accomplishment of the Yongzheng Dynasty's art production.

When the incense burner is lit, the smoke slowly floats out from the crane's mouth, lingering, as if you are in a fairyland.

This pair of cloisonné enamel double crane incense burners is not only huge in shape and exquisite in workmanship, but also has a rare shape of two cranes in a group.

Many researchers believe that this artifact was specially made by Hongli to celebrate the birthday of his father, Emperor Yongzheng, when he was the prince, hence the "big crane + small crane" shape.

The crane symbolizes peace and longevity, and the peach in the mouth of the crane also symbolizes longevity.

The peach is a gift from Xiaohe to Dahe, and it also expresses Hongli's wish to congratulate his father Yongzheng on his longevity.

In the 18th century, court painters were often commissioned to paint paintings with cranes as the theme. What is very interesting is that the necks of many crane-shaped incense burners were made to have a slight curvature. This pair comes from Alfred Morrison's Fangshanju Collection. The crane-shaped incense burner may be a reflection of these paintings.

Emperor Yongzheng did not like filigree enamel, so there were few products and handed down products. The only reliable handed down works are the golden-bodied filigree enamel beans collected by the Baodao Forbidden City.

The Qianlong Dynasty was a period of great development and prosperity for cloisonné enamel. According to archives, the Manufacturing Office produced a considerable number of enamel wares, including palace official articles, Buddhist hall articles, daily necessities, furnishings, and supplies for the study room.

The cloisonné enamel fetuses of the Qianlong Dynasty were made of pure copper, with thick fetal bones and no sense of frivolity. Some objects were even made of expensive gold.

The enamel glaze has no transparency, the trachoma is reduced, it is delicate and smooth, and the color of the enamel glaze is richer than ever before.

In terms of pattern decoration, in addition to inheriting the Ming Dynasty's practice of hooking lotus flowers, it also used antique animal face patterns and geometric patterns, and used landscape pavilions, flowers, birds, insects, fish, and character stories as decorations to pursue the interest of painting and achieve greater success. Good decorative effect.

In terms of gold plating and engraving, no financial resources and skills were spared. The gold color is rich and the carvings are exquisite.

The cloisonné enamel craftsmanship of this period was often combined with painted enamel craftsmanship and inlaid with jewels, a typical resplendent royal art style.

During the Kangxi, Yong, and Qian dynasties, blue and white craftsmanship was unparalleled in the world. The blue and white craftsmanship and artistic innovation of that period had reached unprecedented heights, and the quality could be said to be unprecedented. Therefore, Kangxi's blue and white collections are of extremely high value.

During the Qianlong period, for the emperor's preference, Tang Ying studied pastels intensively and combined them with the works of court painters to create a heyday of pastels. Therefore, Qianlong's pastels are the most famous.

But Qianlong's father, Emperor Yongzheng, was a different kind.

From the bottom of his heart, he also liked blue and white, but in order to distinguish himself from his father, Kangxi, he wanted to find another way. Therefore, under his will, the Manufacturing Office combined the blue and white and the previous cloisonné technology to independently develop strangled enamel.

However, this process is quite simple, and since he didn't like it, the development process was extremely slow. It was not until the end of the Yongzheng period that the strangulation enamel craft reached a certain height. Therefore, the strangulation enamel technique passed down from the Yongzheng period There are very few enamels, but none of them are priceless treasures.

What's more, this pair of incense burners was a birthday gift prepared by his son Hongli for him, and its meaning is even more extraordinary. Therefore, the records of this pair of incense burners are particularly prominent in the "Qing Palace Construction and Management Records" and "Qing History Manuscript". Just as Jason said, when the oil paper was peeled off, there was still anti-shock foam inside, and it was not even a layer.

It seems that the person hired by the royal family is also a cautious person, and the protective measures are quite in place.

After all, this is a service to the royal family. It’s hard to explain when something goes wrong, isn’t it?

In addition, the royal family is a big financial backer. Although it has been in recession in recent decades, it is still a relative term. A camel is still so skinny that it is bigger than a horse, and it is 10,000 times more powerful than an average cow.

If such a big benefactor is satisfied, then money will come rolling in from now on!

The three layers of anti-shock foam were opened, and finally the true face of Mount Lu was revealed. Inside was a solid wooden box of huanghuali wood, with a side length of about sixty centimeters, nine dragon reliefs, and gold-wrapped corners. It was outrageously high-end. From the words on the box Judging from the relief pattern, it looks like a royal thing. ??

There was no lock on the box, so Lu Fei opened it directly. There were two objects of the same size lying inside, covered with apricot-yellow silk. Seeing this, Lu Fei was already a little excited.

After taking off the last layer of yellow silk, the real treasure came into Lu Fei's eyes. Lu Fei's eyes widened and his breathing became a little heavy.

Lu Fei was nervous, really a little nervous.

There are countless good treasures in his hands, and the one that can make him so excited must be a super big treasure. In fact, that's exactly what happened.

This is the famous cloisonné enamel Double Crane Incense Burner made by Emperor Yongzheng of the Qing Dynasty. This is a real super treasure.

This pair of incense burners is in the shape of a pair of cranes walking, looking back.

The body of the crane is hollow, inlaid with white glaze, a strip of blue glaze is applied on the back, and feather patterns are made of filigree. The beak of the crane is applied with dark green glaze and the top is red.

The wings can be opened and closed as a cover. The base is made of blue glaze chiseled enamel, and the base is decorated with green and white filigree enamel with waves.

This vessel has a realistic and majestic shape, fine decoration and inlays. It uses a combination of cloisonné enamel and chiseled enamel to demonstrate the rigor, perseverance and artistic accomplishment of the Yongzheng Dynasty's art production.

When the incense burner is lit, the smoke slowly floats out from the crane's mouth, lingering, as if you are in a fairyland.

This pair of cloisonné enamel double crane incense burners is not only huge in shape and exquisite in workmanship, but also has a rare shape of two cranes in a group.

Many researchers believe that this artifact was specially made by Hongli to celebrate the birthday of his father, Emperor Yongzheng, when he was the prince, hence the "big crane + small crane" shape.

The crane symbolizes peace and longevity, and the peach in the mouth of the crane also symbolizes longevity.

The peach is a gift from Xiaohe to Dahe, and it also expresses Hongli's wish to congratulate his father Yongzheng on his longevity.

In the 18th century, court painters were often commissioned to paint paintings with cranes as the theme. What is very interesting is that the necks of many crane-shaped incense burners were made to have a slight curvature. This pair comes from Alfred Morrison's Fangshanju Collection. The crane-shaped incense burner may be a reflection of these paintings.

Emperor Yongzheng did not like filigree enamel, so there were few products and handed down products. The only reliable handed down works are the golden-bodied filigree enamel beans collected by the Baodao Forbidden City.

The Qianlong Dynasty was a period of great development and prosperity for cloisonné enamel. According to archives, the Manufacturing Office produced a considerable number of enamel wares, including palace official articles, Buddhist hall articles, daily necessities, furnishings, and supplies for the study room.

The cloisonné enamel fetuses of the Qianlong Dynasty were made of pure copper, with thick fetal bones and no sense of frivolity. Some objects were even made of expensive gold.

The enamel glaze has no transparency, the trachoma is reduced, it is delicate and smooth, and the color of the enamel glaze is richer than ever before.

In terms of pattern decoration, in addition to inheriting the Ming Dynasty's practice of hooking lotus flowers, it also used antique animal face patterns and geometric patterns, and used landscape pavilions, flowers, birds, insects, fish, and character stories as decorations to pursue the interest of painting and achieve greater success. Good decorative effect.

In terms of gold plating and engraving, no financial resources and skills were spared. The gold color is rich and the carvings are exquisite.

The cloisonné enamel craftsmanship of this period was often combined with painted enamel craftsmanship and inlaid with jewels, a typical resplendent royal art style.

During the Kangxi, Yong, and Qian dynasties, blue and white craftsmanship was unparalleled in the world. The blue and white craftsmanship and artistic innovation of that period had reached unprecedented heights, and the quality could be said to be unprecedented. Therefore, Kangxi's blue and white collections are of extremely high value.

During the Qianlong period, for the emperor's preference, Tang Ying studied pastels intensively and combined them with the works of court painters to create a heyday of pastels. Therefore, Qianlong's pastels are the most famous.

But Qianlong's father, Emperor Yongzheng, was a different kind.

From the bottom of his heart, he also liked blue and white, but in order to distinguish himself from his father, Kangxi, he wanted to find another way. Therefore, under his will, the Manufacturing Office combined the blue and white and the previous cloisonné technology to independently develop strangled enamel.

However, this process is quite simple, and since he didn't like it, the development process was extremely slow. It was not until the end of the Yongzheng period that the strangulation enamel craft reached a certain height. Therefore, the strangulation enamel technique passed down from the Yongzheng period There are very few enamels, but none of them are priceless treasures.

What's more, this pair of incense burners was a birthday gift prepared by his son Hongli for him, and its meaning is even more extraordinary. Therefore, the records of this pair of incense burners are particularly prominent in the "Qing Palace Construction and Management Records" and "Qing History Manuscript".