The historical development of Yangzhou jade
For a long time, people regard jade as a treasure. The jade is crystal-clear and warm, solid and meticulous. After grinding it into a device, it is beautiful and beautiful, and it is resistant to long-term possession. It can be used as a treasure of the world or a treasure of the family. It is a work of high economic value. China's jade jade craft has a long history. According to research, it has been around 6,000 years. As early as the Neolithic Age, our ancestors have identified "Mei Shi" from the mixed stone and jade to make artifacts. During the Shang and Zhou Dynasties, Yu Yuji gradually became quite skilled. In the production process, cutting, learning, and honing began to be available. People have learned to use the beauty to increase the beauty of the objects. The use of jade has also been gradually expanded, and it has been smashed into rituals, tools, musical instruments and various decorations, which are enshrined in temples or worn on the body. They are used in sacrificial ceremonies, hiring, and alliances, and even the two armies are fighting. At the same time, jade was used as a token, and the so-called "going to be a jade". In China's slavery society, jade has become a symbol of the noble status of the king and the nobles. As a symbol of power and a symbol of wealth, it forms the ethos of "the gentleman must wear jade." This style of feudal society is particularly prosperous. Qin Shihuang unified the six countries, and cut the largest jade material at that time into six pieces, which were engraved with seals. Since then, the feudal dynasties of the past have used jade as a symbol of the highest power of the state. At the same time, the ancients also regarded jade as a symbol of nobleness, purity, goodwill, and good fortune. Ancient books: "The gentleman is better than the Yu, the gentle and the Ze, the benevolence; the secret is the millet, the knowledge is also; the innocence is not the embarrassment, the righteousness; the hang of the fall, the ritual also; the world is not expensive, the Tao also." Throughout the ages, It is no accident that many beautiful languages ​​in literary works are often associated with jade. Chinese jade, known for its exquisite technology and beautiful shape, is known as "the best of oriental art". As a product of material civilization and spiritual civilization, it has always brought truth, goodness and beauty to the world for thousands of years. The cultural and historical city of Yangzhou is one of the important producing areas of jade in China. The jade jade craft has a long history. In the Yangzhou area of ​​the Xia Dynasty, there was a jade craft. The Yangzhou River in the Han Dynasty brought the sea to the southeast. With the changes in economy and politics, the jade craft has entered a period of development. After the liberation, there were a large number of lacquerware and jade articles in the Han Dynasty tombs unearthed in Yangzhou. Judging from the unearthed jade, there are general small decorations and middleware appreciation items. The shape of the utensils includes jade bracelets, jade rings, jade, jade butterflies, etc. The craftsmanship has light and vivid elements, as well as pattern carvings. The relief techniques are played and the patterns are simple and vivid. The Yangzhou Daiyu in the Tang Dynasty had a new development at the time when the handicraft industry flourished. On the one hand, the aristocratic giants used to decorate the building and show off the door, the so-called "carved jade" is. For example, when Emperor Tangzong of the Tang Dynasty, Yangzhou Salt Iron and Steel History Gaochun, built a "Yulou", using hundreds of thousands of pieces of precious materials such as gold jade to decorate the decoration, among them; according to the "Old Tang Book", Gao Wei still Outside the government, "Do not build a Taoist temple, the courtyard has Yingxianlou, Yanhe Pavilion, eighty feet high, decorated with a pearl plaque" ("New Tang Book" is recorded as: "decorated with gold beads and jade"). On the other hand, in the private sector, small pieces of jade are used as accessories and accessories. Du Mu in the "Yangzhou three songs" poems, "Jinluo Qing carved, 鸾 拾 拾 拾 ††〠〠〠〠〠〠〠〠〠〠〠〠〠〠〠〠〠〠〠〠〠〠。 。 。 。 。 。 。 。 。 Women's accessories, such as phoenix, jade, gemstone ring, amber, etc., were available in the early Tang Dynasty. As for Bai Juyi’s description in the poem "Su Ping", "Weaving into a silver screen with a stepping stone, embellishing the beads and sticking to the mica" can be said to be the development of the inlay process of Zhuyu. In the Tang Dynasty, Yangzhou had frequent commercial activities. Many Hu merchants from Persia and Dashang opened stores in Yangzhou, specializing in gems, agates, ivory, cat eyes and other transactions, and added materials to Yangzhou's jade and inlaying process. At the same time, Yangzhou jade and jade jade crafts have also been exchanged. In the 12th year of Tang Tianbao (AD 754), Da Ming Temple Gao Zhenjian was a preacher from Yangzhou to Japan, and he had a painter, a jade worker, etc., and brought a "Yuhuan Jingjing Handcuffs" four, "玳ç‘The stack is "eight sides." In the Song Dynasty, jade crafts have been developed in terms of furnishings, flowers and birds, furnace bottles and other varieties are abundant, and there are also jade cups, jade bowls, paperweights, leeches and other practical utensils. The technique of hollow carving in Saitama was also first seen in the Song Dynasty. According to Xie Kun’s account of the Qing Dynasty, he once saw the exquisite jade tower made by Yangzhou in the Song Dynasty at the Jiang’s home in Kangshan, Yangzhou. In the Song Dynasty, Yangzhou jade craftsmanship not only mastered the technique of hollow carving, but also mastered the production skills of the chain, and its shape and engraving technology also made great progress, laying a deep foundation for the formation of the delicate and exquisite artistic style. . In the Yuan Dynasty, Yangzhou, in addition to the furnishings of jade articles, the artists at that time had already brainstormed on the natural jade. The jade made of Ziyu is called "Shanzi carving". This jade preserves and utilizes the natural and beautiful appearance of jade, and displays the rich and overlapping themes of the picture, and is unique in that it combines the length of other jade varieties. Its carving technique is difficult, and the combination of vertical carving, embossing and hollow carving is required to be carefully crafted with delicate tools. The Yangzhou Museum houses a piece of mountain carving that was passed down from the end of the Yuan Dynasty. It is made of white jade and jade. It is characterized by the theme of the "Bamboo Seven Ghosts". The characters are carved and concise, and the simple and complicated. It can be regarded as the early stage of Yangzhou Mountain Zi. works. In the Ming and Qing Dynasties, Yangzhou Yuyu became more prosperous. The production of both individual operations and handicraft workshops of different sizes, the more varieties and the finer the craft. In the Ming Dynasty, the jade articles of Yangzhou, its exquisite and beautiful style has clearly outperformed the former. The products of the middle period of the Ming Dynasty preserved in the Yangzhou Museum, "Hexagonal Lotus Jade Pot" and "Yu Baiyu Cup", are beautiful in shape and finely finished, and they are all praised. At the beginning of the Ming Dynasty, the mountain jade carving jade has not changed the characteristics of simple and concise, the products are relatively extensive, but the fine and fine has a little bit of fun. In the late Ming Dynasty, Shanzi carving has been a new style of jade. The mountain sculpture “Nanshan Shouxing†preserved in Yangzhou Cultural Relics Store has clear levels, dense and appropriate, and the characters are engraved and subtle. The trees are watery and have a texture. They are the works of the late Ming Dynasty. Their craftsmanship is much better than before, and they are later produced in Yangzhou. Large Yushan prepared for the difficult technology. It is commendable that the combination of the mosaic technology of the Yangzhou jade in the Ming Dynasty and its lacquer ware process greatly surpassed the former dynasty and climbed the peak of art. At the end of the Ming Dynasty, Zhou Yi, a famous artist in Yangzhou, was determined to innovate by the methods of his predecessors. He used gold, silver, precious stones, pearls, corals, jasper, jade, crystal, agate, enamel and other materials to create landscapes, figures, trees, and terraces. Flowers, mane, and inlaid on the lacquer ware, it has become "unprecedented in ancient times." The creation of Zhou Wei is very important for the time and future generations, and the complicated inlaid craft is called "weekly" or "Zhou Cast", also known as "treasure mosaic". This traditional and precious variety is still in production in Yangzhou. The development of Yangzhou jade jade technology to the beginning of the Qing Dynasty can be said to be all the products, and the artistic level has been improved. Especially during the Qianlong period, it entered the heyday. In terms of variety, there are furnaces, bottles, lamps, towers, flowers, birds and beasts for viewing furnishings; practical bowls, plates, pots, cups, and also supplies such as leeches, paperweights, etc.; Smoked, ding, respected, and prepared; as a human body type of God, Buddha, ladies. It is technically more important than fine, and it is full of elegant and beautiful charm in the regularity. Especially in the chain bottles, furnaces, towers and other varieties, fine craftsmanship, exquisite and translucent, can best reflect the rich national style and distinctive local characteristics of Yangzhou jade. Because of this, Yangzhou Yuyu is famous for its masters, and a large number of the masterpieces of the Qing Dynasty court. These furnishings are mostly made of noble jade materials, which are made into small bowls such as bowls, animals and landscapes. The famous white jade is made with Xinjiang sheep fat and jade. The jade is white and flawless. The style is exquisite and elegant, and it has been designated as one of the “Yangzhou Eight tributes†by Qing Ting. Each year, it will be sent to the court in large numbers for the furnishings of the inner courtyard of the palace or as a “prestige†for the rewards of the ministers. According to the article of the Forbidden City Museum's "Jade Art in the Qianlong Period", nearly ten large jade articles weighing up to tens of thousands of pounds in the Qing Palace of the Palace Museum in Beijing are mostly from the hands of Yangzhou jade artists, such as the National Palace Museum. Yushan, such as the "Huichang Jiu Lao Tu", "Guanshan Travel Map" and the "Dayu Water Control Map" exhibited in the Treasure Hall. "Dayu Water Control Map" Yushan, the raw material is the white jade of Milareta Mountain in Xinjiang, with a net weight of more than 10,000 kilograms. According to research, from the mining of jade to the production, it has been shared for more than ten years, of which Yangzhou has been in charge for six years. This Yushan composition is magnificent, magnificent, and the scenery of the mountains and rivers is a rare treasure. Yushan, the "Guanshan Travel Map", was produced in the Qing Dynasty "Building Office" in the 32nd year of Qianlong. Due to the slow progress, it was transported to Yangzhou for processing. It was made with about 30,000 working hours before and after, and it was more than a thousand after the machine was built. jin. Its raw material is strong, but its clever design makes it a beautiful mountain landscape with high artistic skills. "Huichang Jiu Lao Tu" is also a Yushan with a net weight of more than 1,000 kilograms. The jade material is also produced in Xinjiang. It was successfully established in Yangzhou in the 51st year of Qianlong. This piece of Yushan represents the story of the nine-year-old Huichang, the great poet Bai Juyi, and the Xiangshan gathering near Luoyang, Henan. These jade articles weighing thousands and tens of kilograms are very difficult to transport raw materials from Xinjiang to Beijing. It is rare in the history of transportation. The production of these large jade articles is also extremely difficult. It requires not only special tools and methods, but also a lot of manpower and time. It is indeed the crystallization of the sweat and wisdom of the working people and the vast number of jade artists. It can be seen that the high level of technology and art of Yangzhou jade in the Qing Dynasty, the large scale of production and operation, and the number of skilled craftsmen are unprecedented. It is worth pondering that the production of these large jade articles, due to the requirements of the Qing royal family, especially the wishes of the Emperor Qianlong himself, showed the characteristics of solemnity, simplicity, mixedness and extensiveness, and the exquisite and beautiful features of Yangzhou small and medium-sized jade articles. Be a stark contrast. This is an important part of the Yangzhou jade and the artistic style of “Nan Xiu Beixiongâ€.
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