Forbidden City x PEANUTS 48k Coil Dual Format Note 10 x 18cm 【Set of 4】

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National Palace Museum x Snoopy
National Palace Museum x Snoopy
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Forbidden City x PEANUTS 48k Coil Dual Format Note 10 x 18cm 【Set of 4】

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https://live.staticflickr.com/65535/51940164995_1d35215d20_o.jpg **https://www.pinkoi.com/store/so-shop?tag=%E7%AD%86%E8%A8%98%E6%9C%AC&i18n_tag=%E7%AD%86%E8%A8%98%E6%9C%AC** Forbidden City x PEANUTS 48k Coil Dual Format Notes 10 x 18cm The Forbidden City and PEANUTS / Peanuts comics bring a new perspective, and the classic scenes are worthy of your collection and savor. **【Introduction to Cultural Relics】** **Ru Kiln Celadon Lotus-Type Warming Bowl** Relic Dynasties: Ru Kiln in Northern Song Dynasty (1101 AD-1150 AD) Relic size: 10.4 cm diameter 16.2 cm bottom diameter 8 cm depth 7.6 cm Artifact form: Porcelain Description of cultural relics: The only celadon lotus-type warm bowl that has been handed down in the world. Although similar shapes can be seen in other kilns of the same period, or even Korean Goryeo celadon at the end of the 12th century, the proportions are moderate and the changes in thickness are still surpassing Other kilns are enough to serve as models of Song porcelain. The unique azure glaze of Ru kiln has been regarded as the leader of celadon since the end of the Northern Song Dynasty. In the Southern Song Dynasty, it was rare and rare. In the late Ming Dynasty, it evolved into the first famous product of the Song Dynasty, second only to the Chai kiln of the Five Dynasties. https://live.staticflickr.com/65535/51939702916_b8f5d3e44a_b.jpg - **Ming Jingtai** **Cloisonne enamel box with chrysanthemum pattern** Height 6.3 cm, diameter 12.4 cm Bronze filigree enamel round box, shaped from lotus flowers. The flat top is decorated with a lotus heart with a lotus pod. The arc-shaped outer walls of the box body and the box cover are moulded to cover the shape of lotus petals. Each lotus petal frame is decorated with a broken branch lotus, and the flower heart pattern and detailed lines of each lotus are different. The whole vessel is heavy to handle, elegantly crafted, the filigree lines are neat, and the gold-plated traces on the lines are still clear. The light yellow, indigo, light blue, bright red, and white enamel pigments used are thick and bright. The inside and bottom of the vessel are gilded, and the box is engraved with a small script: "Made in the Jingtai Year of the Daming Dynasty". Cloisonné enamelware was called "Dashi Kiln" or "Ghost Country Kiln" in the Yuan Dynasty, and was used to make furnaces, bottles, boxes, cups, cups and the like. It is used in women's boudoirs, but not in the scholar's study." However, this kind of craftsmanship was very prosperous in the Ming Dynasty, commonly known as "cloisonne", because the enamelware made by the palace workshops during the Jingtai period (1450-1456) was the most famous. In the late Ming Dynasty, connoisseurs regarded it as one of the most important craftsmanship achievements in the Ming Dynasty, along with Chenghua porcelain, Xuande bronze and Yongle lacquer. The authenticity of the Jingtai style is mixed, and this incense box is a rare style that matches the style of the era. https://live.staticflickr.com/65535/51940319780_259fc44779_b.jpg - **Fuchun Mountain Residence** Relic Dynasty: Yuan Dynasty (1279AD~1368AD) Relic size: 33cm x 639.9cm Artifact form: volume, ink and color on paper Description of cultural relics: Huang Gongwang (1269-1354 AD), a native of Fuyang. The word Zijiu, the name Yifeng, and the Daoist Daoist, the late Jingxi Daoist. Taking Dong Yuan as the master of landscape, it is the crown of the four great masters of the Yuan Dynasty. In his later years, the giant landscape painting "Fuchun Mountain Residence", a long scroll, describes the beautiful scenery of the early autumn season on both sides of the Fuchun River near Hangzhou. I started to paint the Potuosha moraine, the houses were scattered, and the trees and Stone set off the interest. The painting method is first outlined with light ink, and then broken layer by layer with thick ink. With pen and ink, the changes are extremely varied, and the scenery is secluded, which is the most precise in the whole volume. Later, the river surface becomes wider, the scenery moves backward, the mountain peaks rise steeply, the mountain is painted with long chokes, the brushwork is smooth, natural and vivid, the brush is turned, the flat slope and the empty river surface slightly less chapped, extending backward and flat, the picture From tight to wide, it is quite sparse and elegant. At the end of the painting, there is a flat forest, sand, and water village houses. There is a protruding peak in the middle, standing on the bank of the river. The brushwork is quickly applied with long chaps, moss and ink, without pretense, innocent and unrestrained. "Dwelling in the Fuchun Mountains" has experienced vicissitudes in the nearly seven hundred years of circulation, and was almost killed by fire. During the Chenghua period of the Ming Dynasty, the scroll was once collected by Shen Zhou. In the twenty-fourth year of Wanli in the Ming Dynasty (1596), it belonged to Dong Qichang. Dong Qichang transferred it to Wu Zhiju (Zhengzhi), a collector in Yixing, Zhejiang Province, and then passed it on to his son Wu Hongyu (Wen Qing). ). When Wu Hongyu was dying in the seventh year of Shunzhi in the Qing Dynasty (1650), he ordered his family to throw this picture into the fire. Fortunately, his concubine Wu Ziwen rescued the scroll. After that, the picture was divided into two parts. 1956 "Fuchun Mountain Residence Map. Remaining Mountains" was collected by Zhejiang Provincial Cultural Relics Management Committee and collected by Zhejiang Provincial Museum. https://live.staticflickr.com/65535/51940319845_116861c1b6_h.jpg - **Western Zhou Dynasty Mao Gongding** Relic Dynasties: Late Western Zhou Dynasty Artifact size: height 53.8 cm, belly depth 27.2 cm, diameter 47 cm, weight 34.700 kg Artifact form: Bronze Description of cultural relics: The mouth is decorated with a heavy ring pattern, open mouth, double erect ears, and three hoofed feet. The content of the inscription can be divided into seven sections, which is to say: When King Xuan of Zhou came to the throne, he was eager to revitalize the government, so he asked his uncle Mao Gong to govern the internal and external affairs of the country, and he was diligent and selfless. Therefore, Duke Mao cast a tripod to show his descendants Yongbao. https://live.staticflickr.com/65535/51939702921_bce4baefc0_o.jpg

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Forbidden City x PEANUTS 48k coil double format note 10 x 18cm #globallimited#classiccollection#topicnew

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