中国古典家具屏风英语介绍

中国古典家具屏风英语介绍Screens date back to China during the Eastern Zhou[1][2]Dynasty period (771-256 BCE). These were initially one-panel[3]screens in contrast to folding screens. Folding screens were[4]invented during the Han Dynasty (206 BCE – 220 CE). Depictionsof those folding screens have been found in Han Dynasty era[1]tombs, such as one in Zhucheng, Shandong Province.A folding screen was often decorated with beautiful art, majorthemes included mythology, scenes of palace life, and nature. It isoften associated with intrigue and romance in the literature of China as, for example, a young lady in love could take a curious[1][2]peek hidden from behind a folding screen. An example of sucha thematic occurrence of the folding screen would be in the[5]classical novel Dream of the Red Chamber by Cao Xueqin. Thefolding screen was a subject that had often reoccurred[6]in Tang literature. The Tang poet Li He (790–816) wrote the Songof the Screen, describing a folding screen of a newly-wed[6]couple. The folding screen surrounded the bed of the young couple, its twelve panels was adorned with butterflies alighted on China pink flowers (an allusion to lovers), and had silver hinges[6]resembling glass coins.Folding screens were originally made from wooden panels and paintedon lacquered surfaces, eventually folding screens made[3]from paper orsilk became popular too. Even though foldingscreens were known to have been used since antiquity, it became[7]rapidly popular during theTang Dynasty (618–907). Duringthe Tang Dynasty, folding screens were considered idealornaments for many painters to display[2][3]theirpaintings and calligraphy on. Many artists painted onpaper[2]or silk and applied it onto the folding screen. There were twodistinct artistic folding screens mentioned in historical literature of the era. One of it was known as the huaping (Chinese: 畫屏;literally "painted folding screen") and the other was known as the shuping (Chinese: 書屏; literally "calligraphy folding[3][7]screen"). It was not uncommon for people to commission folding screens from artists, such as from Tang-era painter Cao Ba[2]or Song-era painter Guo Xi. The landscape paintings on foldingscreens reached its height during the Song[1]Dynasty (960–1279). The lacquer techniques for the Coromandelscreens, which is known as kuancai (literally "incised colors"),[8]emerged during the late Ming Dynasty (1368-1644) and wasapplied to folding screens to create dark screens incised, painted,[9]and inlaid with art of mother-of-pearl, ivory, or other materials. Upto around 30 layers of lacquer could be used, each layer couldhave art incised, painted, and inlaid, which would made the folding screens stand out against its dark backdrop.A CHINESE MING DYNASTY STYLE 12 PANEL COROMANDELSCREENEarly 20th CenturyThe 12 panels create one large palace scene including depictions of the emperor and empress being entertained by dancers; all incised in various colors of spinach rust, verdigris green and coromandel brown on a cream ground. The screen is banded with reserves of various themes, some relating to Zodiac symbols. Beautiful fine craquelure to ivory ground.Screens date back to China during the Eastern Zhou Dynasty period (771-256 BCE). A folding screen was often decorated with beautiful art, major themes included mythology, scenes of palace life, and nature. It is often associated with intrigue and romance in the literature of China as, for example, a young lady in love could take a curious peek hidden from behind a folding screen. Folding screens were originally made from wooden panels and painted on lacquered surfaces. The lacquer techniques for the Coromandel screens, which is known as kuancai (literally ""incised colors""), emerged during the late Ming Dynasty (1368-1644) and was applied to folding screens to create dark screens incised, painted, and inlaid with art of mother-of-pearl, ivory, or other materials. Up to around 30 layers of lacquer could be used, each layercould have art incised, painted, and inlaid, which would made the folding screens stand out against its dark backdrop.Zitan Wood Cabinet with Enamel InlaysQianlong reign (1736-1795)Zitan wood, enamel painting, copper fittingsHeight: 185 cm, Width: 96 cm, Depth: 42 cmGuangdong ProductionThe upper part of the cabinet is a five-partition antique shelf. Each partition, in different shapes, is decorated with cloisonné frame aprons and spandrels on upper and side edges. The openwork aprons and spandrels are shaped in the kui dragon and passion flower patterns. The antique shelf is backed with wood panels which are inlaid with mirrors. Below the drawers, a pair of cabinet doors is inlaid with enamel paintings depicting dragons among clouds. Each door has double frames, with the outer frame broader than the inner. The doors are strengthened with engravedcopper straps, as are the drawer pulls and braces.The cabinet is of superb quality and beautiful shape. The choice of precious timber such as zitan woodand the combination of many crafting techniques including enamel painted inlays, cloisonné enameling, and copper incising copper carving and chiseling reflect Cantonese furniture styles and Cantonese carpenters' consummate skills during the Qianlong era.。