Art history of glass painting

First, the origin of glass painting (glass-painting) pictures drawn on glass with oil painting pigments, gouache, Chinese painting pigments, etc. , using the transparency of glass, from the other side of the color.

Mosaic with a frame is rich in decorative interest. Mainly used for interior decoration.

Themes are mostly taken from landscapes, flowers and birds, auspicious patterns and so on. There are also some portrayals. The colors are bright and strong, with a festive atmosphere.

The history of glass painting can be traced back to colored glass in ancient Egypt. From the end of 17 to the beginning of 19, it was popular in Germany, Czech Republic and other countries, almost all of which were religious folk paintings, and often became the object of worship by every household as small icons.

During the Qianlong period of the Qing Dynasty in China, Italian painter Lang Shining introduced this painting to China. During the reign of Qianlong and Jiaqing in Qing Dynasty, it was quite popular in some parts of China.

When shops open in Zhang Zhixi, people often give glass paintings as gifts.

Second, is the glass painting collectible? Hello,

This should have a certain collection value. I have answered many times about the collection value of collectibles. Is it worth collecting? It has its own material and spiritual significance. On the one hand, it is a commodity bearing historical, cultural and artistic information, and its value is unstable, changing with the changes of fashion and aesthetic taste. Generally speaking, it is on the rise. Take calligraphy and painting as an example. The same painting by Qi Baishi was worth 100 yuan in the 1970s, but now it can reach 300,000 yuan. As for ancient calligraphy and painting, it has increased even more over the years.

In modern society, collection has become an important means of investment. With relatively low input, relatively high output, low risk and high efficiency, cultural relics collection is increasingly favored by people of insight. In today's increasingly prosperous economy, collection is no longer the patent of literati, and gradually becomes a part of people's economic life and spiritual life.

There are countless people who have made a fortune by collecting in history. In the mid-Ming Dynasty, due to the economic development in the south of the Yangtze River, a large number of painting and calligraphy collectors emerged, including father and son, Xiang family, Wang Shizhen brothers and Dong Qichang. These collectors are also famous painters and calligraphers. Their collection not only promoted the prosperity of the calligraphy and painting market at that time, but also promoted the economic development.

Collectibles are not only wealth, but also a symbol of taste, cultivation and status. Especially in recent years, many enterprises participated in the collection, which fully demonstrated the level and charm of modern enterprises, making them always the object of public attention in the fierce commercial war.

Third, the new technology of glass painting archaeological data show that the ancient glass manufacturing technology in China began in the Western Zhou Dynasty and lasted for more than 2,000 years. It reached its peak in the Qing Dynasty and became the heyday in the history of ancient glass. There are more than 4000 ancient glassware in the Palace Museum. From the era of collection, there was almost no interruption from the Warring States to the Ming and Qing Dynasties. Most of the collections have been handed down from ancient times, especially in the Qing Dynasty, with the largest proportion of glass products, accounting for about 90% of the whole collection. Glassware in Qing dynasty is divided into two series: palace glassware and folk glassware, of which palace glassware accounts for 3/4. Palace glass represents the technological level of glass making in Qing dynasty, and it is a variety of glassware made by the glass factory of the manufacturing hall for the royal family according to the emperor's decree. In the Qing Dynasty, from Emperor Kangxi Michelle Ye to the last emperor Puyi, the glass factory and official workshop of the Ministry of the Interior never stopped making and producing glass.

After the establishment of the glass factory, under the unified command of the emperor and the management minister of the manufacturing institute, the glass production in Qing Dynasty embarked on the track of steady development. According to incomplete statistics, there were monochrome glass, enamel glass, mosaic glass, carved glass, gold-plated glass and other varieties in Kangxi dynasty, and gold-plated glass was added in Yongzheng dynasty.

Monochrome glass refers to glassware blown with monochromatic glass. Monochrome glass in Kangxi Dynasty is the inheritance and development of glass making technology before Qing Dynasty. In the past, the Palace Museum in Beijing only collected a piece of transparent glass water. Monochrome glass was the mainstream product at that time, and it produced the largest number and the richest variety during Yongzheng period. Monochrome glass can be divided into "Nie glass" and "Bright glass". "Nie glass" refers to opaque glass and "bright glass" refers to transparent glass.

Enamel is a kind of glaze coated on metal tires, porcelain tires and glass tires, which was introduced to China from Europe during the Kangxi period. Glass tire painting enamel is the earliest glass decoration technology in Qing Dynasty, which began in Kangxi dynasty, but the glass tire painting enamel in Kangxi dynasty has never been seen.

Another innovation in the glass manufacturing process of Kangxi Dynasty was the successful firing of a set of glass. The so-called "cover glass" refers to an object made of more than two colors of glass. There are two ways to make it. One is to cover the glass tire with another color different from the tire color, and then carve patterns on the outer glass; One is to directly pattern the tire with a heated semi-molten color bar. Glass cover is the product of the combination of glass forming technology and carving technology, and it is an important invention in the history of glass making technology. Articles made by these two methods can see the effect of convex carving, which not only has the beauty of glass texture and color, but also has the three-dimensional sense of concave and convex patterns.

Gilded glass is another innovative glass variety in Kangxi Dynasty. However, there is no record of making gold glass in Yongzheng archives; However, in the archives of Yongzheng Dynasty, the production of gilded glass was recorded, and the golden pattern was painted on the glass surface. The production method should be derived from the practice of gilded paint in lacquer art.

Throughout history, the Kangxi dynasty was the beginning and foundation stone laying period of the official glass making process in the Qing Dynasty. The establishment of the glass factory is the product of Michelle Ye, Emperor Kangxi, inheriting China's traditional glass-making technology and absorbing European science and technology. It is also the result of the royal family's attention and love for glass products. Glittering glassware became the new favorite of works of art in Qing dynasty and an important gift of the emperor. There were as many as 30 kinds of glass colors in Yongzheng period, which were colorful and colorful, and became the highlight of glass making technology in Yongzheng period. Qianlong dynasty was the most brilliant and all-round development period of glass making technology in Qing dynasty. Jiaqing is a turning point in glass production technology. Since then, the glass factory of the manufacturing institute has been devastated, and the technological level has gradually declined. The history of the development of glass craft production in Qing dynasty is closely related to the rise and fall of Qing dynasty, which is an irresistible development law of government-run workshops.

Four. Briefly describe the historical process of the introduction of western painting into China, and the introduction of western oil painting into China in Ming and Qing Dynasties. 1768 After Wang Zhicheng's death, Emperor Qianlong recruited Italian painter Joseph Panzi to serve in the palace.

When Pan Shi entered the palace, he was just catching up with the victory of the battle of Ganlong Erjinchuan and commending the meritorious soldiers. The painter of Qianlong imperial edict painted portraits of these heroes and hung them in Ziguangge.

The paintings of Yamanthal, A Zhongbao, Jia Mucan and Torteau, the protagonists of "Pacify Jinchuan", are now collected by the National Folk Museum in Berlin, Germany, all from Joseph Panzi. These works are similar in painting method to the Mongolian Erut leader painted by Wang Zhicheng. Although the brushwork is rough and the technique is obviously immature, it is a * * * oil painting that promotes the achievements of "literary ambition and martial arts" for Emperor China, with the characteristics of the integration of Chinese and Western paintings and the blending of Chinese and Western aesthetic interests.

From the decoration of court gardens to the outstanding achievements of emperor Wenwu, from Emperor Kangxi's dislike of portrait painting to Emperor Qianlong's love of western oil painting, from the appearance of missionary oil painters to the appearance of China court oil painters, the spread of oil painting in northern towns of China is due to the artistic sponsorship of Emperor China, and the most prominent thing is that the art of oil painting portrait has been greatly developed; Until the end of the Qing Dynasty, there were still famous works such as the old woman with banners, the man and the beauty. Third, the economic and cultural exchanges between China and the West, the spread and development of western immigrant painters and oil paintings in the southern trading port of Qing Dynasty "While missionary oil painters were busy painting glass oil paintings to decorate the palace in Beijing, the oil painters in Guangzhou, the southern trading port of China, were also tirelessly painting glass oil paintings. The difference is that they are made for the economic and cultural exchanges between China and the West.

Margaret Jordan, a British scholar, pointed out in her book "China Export Art in the18th Century": "In the cultural exchange between Europe and the East, many China exports were influenced by the West, including Jesus porcelain and mirror paintings, both of which were for export, and to a great extent, their decoration was based on European copperplate prints." Mirror painting is glass painting.

As far as the cultural exchange between China and the West is concerned, the creative feeling from western copperplate prints and temporary paintings is the root of the rise of oil painting in southern trading ports in Qing Dynasty. The most convincing one is a watercolor painting of China in about 1790' s, which depicts a China oil painter sitting at a painting table and copying a European colored copperplate.

From the spare pieces of paper on the table and the crepe paper ball used to wipe the pen, you can know that he is painting oil paintings. The glass oil painting "Normandy Seascape" collected by Swiss collector Reise and his wife is a colored glass oil painting with French black and white copper plate as the background.

The Lady on the Spinning Wheel, Dress of Venus, Shepherdess, Jianghu Doctor and Country Barber collected by the Reiser couple are all oil painting reproductions of European copperplate prints. Therefore, British traveler Barlow described his experience in Guangzhou in Travel Notes of China published in 1804. He said, "The European color prints introduced into Guangzhou have been reproduced very realistically."

Although pro-imitation was the early way of oil painting development in southern trading ports in Qing Dynasty, the oil painting created on this basis laid the foundation for the prosperity of oil painting in southern China. The portraits of China ladies collected by the Reiser couple show the world the ability of China oil painters to create portraits in the late18th century, and the oil painter who represents this achievement is Shi Beilin, who first made a name for himself by painting portraits on glass. The earliest existing portrait of his glass oil painting is inscribed in English: "Shi Beilin was painted in China in 1774 and 10.

According to the research of western scholars, this painting depicts the British captain Thomas Frey. In other words, China oil painters began to sketch for foreign navigators in China, marking the establishment of the relationship between China oil painting art and art patrons. Since then, there have been more than a dozen oil painting portraits inscribed by him, and oil painting portraits paid by other painters have also emerged constantly, which just shows the close relationship between the rise of Guangzhou oil painting in Qing Dynasty and the economic and cultural exchanges between China and the West.

The significance of sperling is not only reflected in the first appearance of glass oil painting, but also in many of his oil paintings on canvas. In other words, he is an important representative painter who changed from glass oil painting to canvas oil painting in Qing Dynasty, which means that Jiangnan oil painting entered the stage of easel oil painting in Qing Dynasty, which greatly accelerated the historical process of the development and prosperity of Guangzhou oil painting in Qing Dynasty and played a pioneering role in the emergence of easel painting and its painters in Guangzhou in the19th century.

Painting portraits on canvas marks the formation and maturity of Shi Beilin's oil painting portrait art style. His earliest canvas oil painting depicts an unidentified British soldier. The label on the back of the oval painting clearly reads: "Works by sperling in Guangzhou, 1 786 65438+February1."

This work is drawn by the more authentic western classical oil painting portrait covering dyeing method and transparent painting method. Without the painter's label, it is hard for people to imagine that this oil painting was made by China oil painter Shi Beilin. Similar works include Portrait of Captain John Wyatt and Portrait of Staff of the British East India Company.

Judging from the age development characteristics of Shi Beilin's existing works, his oil paintings are generally divided into two stages with 1786 as the boundary. Early oil paintings were related to his paintings on glass. His pen is stiff, smooth and decorative.

From about 1786, painting on cloth was changed, and the technology improved rapidly. At this time, the oil painting style presents the characteristics of neoclassicism, and the expression of facial expressions and temperament of characters is paid attention to. This style of expression continued into the later years, and the expression technique was very skillful. When he painted Haskan's portrait, he got rid of the traces of people who used to line drawing in the East and reached a position where he was indistinguishable from western painters' works.

Generally speaking, Shi Beilin's later portraits have a weak contrast between light and shade, but he pays attention to the description of facial anatomical structure. The background is mostly brownish gray or blue gray, and the portrait has a faint halo after the background light, which constitutes the style characteristics of his later portraits. This style of painting continued until the1820s, such as the portrait of Bernardo Fitch painted by some of his followers, the portrait of an unknown American painted by Xiao Donggua, the portrait of a sailor painted by Xing Gua, and the portrait of an unknown foreign man painted by Lin Gua. The expression techniques are all around Shi Beilin.

Therefore, "Shi Beilin's painting style" is a southern spread of the Qing Dynasty.

Verb (abbreviation of verb) Thesis title: The artistic course of western oil painting introduced into China in Ming and Qing Dynasties; China's so-called oil painting is the painting introduced to China from Europe.

Mr. Ai Zhongxin, a famous oil painter, said: "China is a big oil painting country", which is just right. Today, oil painting has become a major category of modern art in China, and it is comparable to China's traditional Chinese painting. Tracing back and studying the course of the introduction of western oil paintings into China is not only an unavoidable and necessary academic topic in the history of China's fine arts, but also an important issue related to whether China's oil paintings can become a special history.

In recent 20 years, there are many works about oil painting introduced into China, but the research results are not satisfactory, and there are many paradoxes. For example, the first volume of Complete Works of Modern Art in China published by Tianjin People's Fine Arts Publishing House (figure 18) in 1997 not only mistook the gouache painting "A Corner of Guangzhou Business District" collected by the Hong Kong Museum of Art as an oil painting, but also mislabeled the date of the work as1807; At that time, the western ocean-going motorized paddle wheel had not yet come out, so how could the American steam engine "spark" appear on the water of Guangzhou Commercial Hall? Besides, before the Opium War broke out, foreign merchant ships were not allowed to enter the waters of Guangzhou Port! What's more, this volume not only changes the oil painting Overlooking Huangpu by British Chinese painter William Westel into Summer in the Imperial Garden by an unknown person, but also contradicts the research text in the book and the actual landscape content of Guangzhou Huangpu Port.

Another example is the Hundred Years History of China Oil Painting published by Guangxi Fine Arts Publishing House 1996 (1840- 1949). The author painted an anonymous China oil painter, which was photographed by British photographer john thomson during his trip to China from 65438 to 1872. Even the time when photography was invented was 1839, and the first foreign camera was introduced to China was 1846. These historical common sense are ignorant, dismissive of the minimum historical logic, and have not made a serious textual research and analysis of historical documents. Of course, absurd things are rampant. From the above analysis, it can be seen that people are quite superficial when trying to discuss the study of oil painting in Qing Dynasty.

If we look at it from another angle, we can imagine the historical problems and difficulties involved in this topic, not to mention exploring the development process of western oil painting introduced into China in Ming and Qing Dynasties-China in Ming and Qing Dynasties. I think western oil painting was introduced into China with the breaking of the geographical barrier between East and West and the economic and cultural exchanges between China and the West.

Generally speaking, the Ming Dynasty was an early period when western oil paintings were introduced to China, with strong religious color. From18th century to19th century, the oil paintings introduced to China tend to be diversified and have distinct political and economic characteristics. 1. Missionaries and western oil paintings were introduced to China in the Ming Dynasty. /kloc-at the end of 0/5, western explorers crossed the ocean, hoping to get close to the Far East and its mythical wealth by sea, thus opening up the east-west sea route and the great discovery of world geography.

Since then, through these sea routes, the cultural and artistic exchanges between the East and the West have become increasingly close. Some Jesuit missionaries with the same adventurous spirit as western explorers actively participated in the expansion activities of Catholic expeditions to the East. In the process of missionary work, they introduced western science and culture into China intentionally or unintentionally, and western oil paintings were also introduced into China with cultural missionary activities.

The missionaries who made great contributions to the spread of western oil painting in China were Luo Mingjian, Matteo Ricci and Giovanni. Luo Mingjian's contribution is to bring western oil painting into the mainland of China; The historical significance of Matteo Ricci opened an effective way for oil painting to be introduced into China. Although Giovanni did not enter the mainland of China, his oil painting activities in Macau, his oil painting disciples trained in Macau and his artistic activities in the mainland of China had a far-reaching historical impact on the development of oil painting in the Ming Dynasty.

The existing literature records show that the introduction of oil painting into China took place during the Wanli period of the Ming Dynasty. Italian Jesuit missionary Luo Mingjian was the first person to bring oil painting to China. On 1579 (the seventh year of Wanli in the Ming Dynasty), he was ordered to come to China to set up a church in Guangdong. When he was transferred to Zhaoqing, Guangdong via Macao, the local governor inspected Luo Mingjian's property and "found some carefully drawn icons".

We know that "meticulous brushwork" is the artistic expression feature of European Renaissance oil painting. Therefore, these "painted icon paintings" should be the first western religious oil paintings introduced to China.

1583, Luo Mingjian also hung the Madonna in the chapel of Notre Dame established in Zhaoqing for worshippers to worship, which initiated the introduction of western oil paintings into China. After Luo Mingjian, Matteo Ricci, an Italian missionary, played a key role in promoting the spread and inheritance of oil painting in China. With his profound knowledge of astronomy, geography and mathematics and mature Confucian cultivation, he invented a top-down form of "cultural missionary". While spreading western science and technology, he skillfully distributed western Catholic oil paintings and their copperplate prints to the top officials and emperors in China, which triggered a series of inheritance effects of western oil paintings.

For example, the oil paintings he gave to the wife of the Governor of Shandong Grain Transportation include "The Virgin Son and John the Baptist"; When the bronze bell was presented to Ming Shenzong, it was presented together with the oil painting "A portrait of God and two portraits of God's mother". These tributes aroused the interest of Emperor China, who wanted to see the clothes of European princes and nobles. Matteo Ricci also presented a religious bronze plate to Emperor Wanli, which was decorated with European princes and nobles, angels and popes, with a simple description. In fact, these comments, which are helpful to understand the content and meaning of the pictures, hide Matteo Ricci's attempt to arouse the interest of Emperor China in Catholicism. Therefore, Emperor China became interested in western paintings because of the exquisite details, and ordered court painters to enlarge and copy the paintings with colors under the guidance of Matteo Ricci.

As for what color to copy, oil painting color or other colors, there is no textual research, but the method of "cultural missionary" created by Matteo Ricci, with the help of western technology and oil painting, really achieved the purpose of arousing the curiosity of Emperor China to western culture and inducing Emperor Wanli of Ming Dynasty to sponsor western painting art.

Topic of intransitive verb thesis: the artistic course of western oil painting introduced into China in Ming and Qing Dynasties; China's so-called oil painting is the painting introduced to China from Europe.

Mr. Ai Zhongxin, a famous oil painter, said: "China is a big oil painting country", which is just right. Today, oil painting has become a major category of modern art in China, and it is comparable to China's traditional Chinese painting. Tracing back and studying the course of the introduction of western oil paintings into China is not only an unavoidable and necessary academic topic in the history of China's fine arts, but also an important issue related to whether China's oil paintings can become a special history.

In recent 20 years, there are many works about oil painting introduced into China, but the research results are not satisfactory, and there are many paradoxes. For example, the first volume of Complete Works of Modern Art in China published by Tianjin People's Fine Arts Publishing House (figure 18) in 1997 not only mistook the gouache painting "A Corner of Guangzhou Business District" collected by the Hong Kong Museum of Art as an oil painting, but also mislabeled the date of the work as1807; At that time, the western ocean-going motorized paddle wheel had not yet come out, so how could the American steam engine "spark" appear on the water of Guangzhou Commercial Hall? Besides, before the Opium War broke out, foreign merchant ships were not allowed to enter the waters of Guangzhou Port! What's more, this volume not only changes the oil painting Overlooking Huangpu by British Chinese painter William Westel into Summer in the Imperial Garden by an unknown person, but also contradicts the research text in the book and the actual landscape content of Guangzhou Huangpu Port.

Another example is the Hundred Years History of China Oil Painting published by Guangxi Fine Arts Publishing House 1996 (1840- 1949). The author painted an anonymous China oil painter, which was photographed by British photographer john thomson during his trip to China from 65438 to 1872. Even the time when photography was invented was 1839, and the first foreign camera was introduced to China was 1846. These historical common sense are ignorant, dismissive of the minimum historical logic, and have not made a serious textual research and analysis of historical documents. Of course, absurd things are rampant. From the above analysis, it can be seen that people are quite superficial when trying to discuss the study of oil painting in Qing Dynasty.

If we look at it from another angle, we can imagine the historical problems and difficulties involved in this topic, not to mention exploring the development process of western oil painting introduced into China in Ming and Qing Dynasties-China in Ming and Qing Dynasties. I think western oil painting was introduced into China with the breaking of the geographical barrier between East and West and the economic and cultural exchanges between China and the West.

Generally speaking, the Ming Dynasty was an early period when western oil paintings were introduced to China, with strong religious color. From18th century to19th century, the oil paintings introduced to China tend to be diversified and have distinct political and economic characteristics. 1. Missionaries and western oil paintings were introduced to China in the Ming Dynasty. /kloc-at the end of 0/5, western explorers crossed the ocean, hoping to get close to the Far East and its mythical wealth by sea, thus opening up the east-west sea route and the great discovery of world geography.

Since then, through these sea routes, the cultural and artistic exchanges between the East and the West have become increasingly close. Some Jesuit missionaries with the same adventurous spirit as western explorers actively participated in the expansion activities of Catholic expeditions to the East. In the process of missionary work, they introduced western science and culture into China intentionally or unintentionally, and western oil paintings were also introduced into China with cultural missionary activities.

The missionaries who made great contributions to the spread of western oil painting in China were Luo Mingjian, Matteo Ricci and Giovanni. Luo Mingjian's contribution is to bring western oil painting into the mainland of China; The historical significance of Matteo Ricci opened an effective way for oil painting to be introduced into China. Although Giovanni did not enter the mainland of China, his oil painting activities in Macau, his oil painting disciples trained in Macau and his artistic activities in the mainland of China had a far-reaching historical impact on the development of oil painting in the Ming Dynasty.

The existing literature records show that the introduction of oil painting into China took place during the Wanli period of the Ming Dynasty. Italian Jesuit missionary Luo Mingjian took the lead in bringing oil painting to China. On 1579 (the seventh year of Wanli in the Ming Dynasty), he was ordered to come to China to set up a church in Guangdong. When he was transferred to Zhaoqing, Guangdong via Macao, the local governor inspected Luo Mingjian's property and "found some carefully drawn icons".

We know that "meticulous brushwork" is the artistic expression feature of European Renaissance oil painting. Therefore, these "painted icon paintings" should be the first western religious oil paintings introduced to China.

1583, Luo Mingjian also hung the Madonna in the chapel of Notre Dame established in Zhaoqing for worshippers to worship, which initiated the introduction of western oil paintings into China. After Luo Mingjian, Matteo Ricci, an Italian missionary, played a key role in promoting the spread and inheritance of oil painting in China. With his profound knowledge of astronomy, geography and mathematics and mature Confucian cultivation, he invented a top-down form of "cultural missionary". While spreading western science and technology, he skillfully distributed western Catholic oil paintings and their copperplate prints to the top officials and emperors in China, which triggered a series of inheritance effects of western oil paintings.

For example, the oil paintings he gave to the wife of the Governor of Shandong Grain Transportation include "The Virgin Son and John the Baptist"; When the bronze bell was presented to Ming Shenzong, it was presented together with the oil painting "A portrait of God and two portraits of God's mother". These tributes aroused the interest of Emperor China, who wanted to see the clothes of European princes and nobles. Matteo Ricci also presented a religious bronze plate to Emperor Wanli, which was decorated with European princes and nobles, angels and popes, with a simple description. In fact, these comments, which are helpful to understand the content and meaning of the pictures, hide Matteo Ricci's attempt to arouse the interest of Emperor China in Catholicism. Therefore, Emperor China became interested in western paintings because of the exquisite details, and ordered court painters to enlarge and copy the paintings with colors under the guidance of Matteo Ricci.

As for what color to copy, oil painting color or other colors, there is no textual research. However, Matteo Ricci's "cultural missionary" method, with the help of western technology and oil painting, really aroused the curiosity of Emperor China to western culture, induced the artistic sponsorship of Emperor Wanli of Ming Dynasty to western painting, and then led to western oil painting.

Seven, the origin of the process of painting snuff bottles inside, who created it, and when did this process begin to exist? Internal painting snuff bottle is a kind of snuff bottle, which is a new technology that emerged after more than 200 years of development in China. However, as soon as the snuff bottle with internal painting came out, it immediately dominated the snuff bottle art world with its unique artistic expression. After the prosperous period of Kangxi, Yongzheng and Qianlong in the Qing Dynasty, like the feudal dynasty, the feudal art gradually declined and disappeared, and suddenly emerged, adding infinite vitality to the lifeless and unremarkable art field in the middle and late Qing Dynasty. Painting snuff bottles inside is a unique art form of snuff bottles. This paper introduces some related problems of painting snuff bottles inside.

Although the snuff bottle was fascinating and infatuated before the appearance of the internal painting snuff bottle, people's pursuit of artistic appreciation is endless. People hope to see more exquisite snuff bottles with higher artistic appreciation value, and the internal painting snuff bottle is the result of this artistic pursuit. After the unremitting exploration of snuff bottle craftsmen, a new and more popular craft variety-internal painting pot was finally created during the Daoguang period of Jiaqing in Qing Dynasty.

There is also an interesting legend about the appearance of the snuff bottle with internal painting: it is said that in the late Qianlong period of the Qing Dynasty, there was a ruined literati in Beijing who lived in a ruined temple and lived in poverty. But he was addicted to snuff and couldn't bear it, so he found out the glass snuff bottle he had used in the past. Use a cigarette spoon to find the snuff stuck to the inner wall of the hookah and satisfy its desire. Over time, it left a texture on the inner wall of the hookah. The monks in the temple were inspired by this despicable behavior. When he was convenient for chanting and meditating, he dipped a curved bamboo stick in colored dye, put it in a transparent plain glass snuff bottle and painted on the inner wall, thus inventing the internal painting snuff bottle.

However, according to the research of Hong Kong snuff bottle researcher Mr. Liang Zhihang, the internal painting snuff bottle was invented by a young painter in southern China during the Jiaqing period of the Qing Dynasty (see Liang Zhihang's "The New Face of Internal Painting Snuff Bottle in China"). The young painter's name is Gan Huan. He poured small steel balls, quartz sand and a small amount of water into the pot and shook it back and forth, which made the inner wall of the pot grind out-"layers of fine lines make ink and pigments easy to attach." Then dip the pot color with a curved bamboo pen; The interior wall is painted backwards. According to Mr Xu Moshi's textual research, Gan Huan's real name is Gan. His paintings of snuff bottles have a wide range of themes, mainly ink and wash, with plain colors as the lining. His early works were signed by Gan Huan, and later some were signed by Gan, such as laity, Mid-Levels, Yunfeng and Huan Wen firewood. According to textual research, Gan Huan's earliest works were written in 18 16, and he wrote them in 1860 for some reason.

There are two basic conditions for creating snuff bottles with internal paintings: first, choose transparent and clean raw materials, such as crystal, glass, tea crystal, Hu 66 and light-colored transparent beans; Secondly, we should master and use back painting techniques skillfully. As for the raw materials, before Jiaqing and Daoguang, the snuff bottles made in China used a lot of crystals, glass, tea crystals, amber and agate. Many snuff bottles are made so that people can clearly see the contents of the bottles at a glance. As for back painting, its historical origin can also be found in our country. As early as the Spring and Autumn Period and the Warring States Period. In China, seals appeared, and the seals were engraved with reverse characters on printed matter. So the clock covered the word "positive". Others think that interior painting should originate from the back of Europe. /kloc-in the 6th century, glass painting appeared in Europe, and the works created by this painting form became the most important decorative works in court churches and cathedrals at that time. Back painting is a kind of glass painting, which was invented by Italian and British painters. The technique of back painting is different from painting on canvas and wood. It must be painted in a transparent or translucent texture on the back, so that people can see the correct image on the front. According to 1950 published in London, England, the18th century works of art exported from China (Jurdan M. Jourdain) ... introduced the back painting techniques in Europe at that time, which influenced the Qing court and Guangzhou. This may have been spread by some western missionaries in China at that time. The glass paintings made by Lang Shining and other western painters in the Palace Museum are painted by the back technique. The makers of snuff bottles in China may have benefited from the back painting technology and created the art of painting snuff bottles inside.

How the snuff bottle was produced in the competition is still inconclusive. Anyway. From the day it was born, the painted snuff bottle firmly grasped the users' hearts, deeply influenced the development of China snuff bottle, and greatly admired by foreign users, collectors and appreciators.