Replica of Qing Dynasty Palace Gilded Passionflower and Bat Pattern Armchair
Replica of Qing Dynasty Palace Gilded Passionflower and Bat Pattern Armchair
Replica of Qing Dynasty Palace Gilded Passionflower and Bat Pattern Armchair
Replica of Qing Dynasty Palace Gilded Passionflower and Bat Pattern Armchair
Armchair: Total height: 102.5cm, Total width: 68.9cm
Seat depth: 57.2cm, seat height: 51cm
Central Hall Table: Length: 262cm, Width: 46.8cm, Height: 109cm
Square table: Length 89.2cm, Width 89.2cm, Height 80cm
The armchair is resplendent in gold and gleaming. The carvings, joinery, and gilding throughout are arranged in a harmonious and orderly manner.
The painting is elaborate yet tasteful, exuding richness and luxury.
The upper part of this armchair is not made of large pieces of wood, and the corners are joined with mortise and tenon joints. This shows how well the materials are used (saving materials) and how ingenious the craftsmanship is.
The gilded patterns painted stroke by stroke on it still shine brightly hundreds of years later.
The Ming Dynasty book "Records of Lacquer Decoration" states: "Gold painting, also known as 'painted lacquer with mud gold,' is pure gold floral patterns. It is suitable for both red and black backgrounds."
Armchair: Total height: 102.5cm, Total width: 68.9cm
Seat depth: 57.2cm, seat height: 51cm
Central Hall Table: Length: 262cm, Width: 46.8cm, Height: 109cm
Square table: Length 89.2cm, Width 89.2cm, Height 80cm
The armchair is resplendent in gold and gleaming. The carvings, joinery, and gilding throughout are arranged in a harmonious and orderly manner.
The painting is elaborate yet tasteful, exuding richness and luxury.
The upper part of this armchair is not made of large pieces of wood, and the corners are joined with mortise and tenon joints. This shows how well the materials are used (saving materials) and how ingenious the craftsmanship is.
The gilded patterns painted stroke by stroke on it still shine brightly hundreds of years later.
The Ming Dynasty book "Records of Lacquer Decoration" states: "Gold painting, also known as 'painted lacquer with mud gold,' is pure gold floral patterns. It is suitable for both red and black backgrounds."
复刻清宫描金西番莲万蝠纹扶手椅
扶手椅金碧辉煌，灿然生彩。通体的雕刻、攒接、描金，错落有致，章法有循。绘工满饰，繁而不俗，富丽奢华。
这把扶手椅子上部皆不用大料做，拐角处用格角榫拼接，这里可以看出用料 （省料）之恰到好处，匠心独具。
其上一笔一笔绘上的 描金纹样，数百年后依旧熠熠光彩。
明《髹饰录》载：描金，一名泥金画漆，即纯金花文也。朱地、黑质共宜焉。
大雅堂原规格复刻
沈福文《漆器工艺技法撷要》记载有描金工艺的过程：在完成推光的黑色漆面上，用金脚漆描绘花纹线条待绘漆干燥到百分之九十以上（漆面尚未完全干固），用丝绵着金箔细粉，轻轻将金粉揩上。漆线完全干固后，再用丝绵揩除多余的金粉，即成描金花纹。
描金的技法有用金勾勒轮廓显出凸出纹理的细钩法，用刀雕刻显现为阴文的梳理法，在金色花纹上在用黑漆描写的黑漆理，还有用金描画的彩金象。此椅所用技法则为 彩金象。
在中国漆艺史上，描金漆艺技术曾有过两个非常繁荣的时期：一个是战国，一个就是清代。
而由这一张扶手椅，则可一窥清代描金的超高技艺。
绮丽不俗，疏密有致。
或许因为藏在深宫，少出现于展览著录，这把扶手椅名气并不大。据闻清宫家具的制作，常直接由皇帝过问审批。各朝《活计档》曾记载康熙雍正乾隆几代皇帝审核修改家具设计制作的事情。
在描金家具中，椅子较为少见，因扶手，牙条，腿足这些纤细的构件十分考验构图设计，一失手，就过满且繁琐，变成暴发户气质。
因此描金家具大多为大件，如柜子、罗汉床、屏风等，或为小件，如各种盒子。描金椅子故宫也另藏有几件，但都不如这件章法有序，装饰瑰丽，既兼顾生活情趣，又彰显皇权威仪。
扶手椅通体紫檀木制，席心座面。高束腰浮雕绦环板，内外饰描金卷云纹及花卉纹，束腰下带托腮。靠背扶手以小块木料做榫攒接成拐子纹，正中嵌万字，并于两面饰描金蝙蝠及卷草纹。牙条与腿结合的转角处饰云纹角牙，垂肩直腿，回纹马蹄。
这件扶手椅通体的雕刻、攒接、描金，错落有致章法有循。绘工满饰，金碧辉煌，灿然生彩。
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