Yingkou Museum

Yingkou Museum

Yingkou museum was formally established in 1981, formerly known as the office of Yingkou cultural relics management committee. It is located in the middle section of Bohai street, Yingkou City, with a construction area of 3200 square meters, including an exhibition area of more than 1600 square meters.

There are more than 6000 cultural relics in the collection, including the famous Jinniushan site, human and mammal fossils, bronzes, pottery, coins, calligraphy and painting, sparks, shadow puppets, etc.

Development history

Since its official opening on April 8, 2004, the new Yingkou Museum has taken the idea of building a museum without walls as its operation concept, made extensive use of social resources, followed the road of characteristics, and held more than 100 exhibitions of various types, becoming an important cultural position for interpreting history, inheriting culture, popularizing knowledge, and enlightening the mind. At the same time, we should carefully create mobile exhibition positions and send excellent culture to barracks, schools, communities, enterprises and institutions; we should strive to build museums around the masses, work hand in hand with news media units to create a strong cultural atmosphere and make museums a spiritual home for the masses without walls; He devoted himself to academic research and compiled the collection of cultural relics in Yingkou Museum, the exhibition collection of Yingkou Museum, the illustration of modern Yingkou, the review of one hundred exhibitions, and four theses of the seminar of Yingkou Museum Society, showing and carrying forward the rich and profound cultural heritage of Yingkou.

Organization setup

There are 8 departments including office, exhibition and research room, Archaeology Department, storage department, group work department, identification department, intangible cultural heritage protection center and security section.

Basic Display

At present, the basic exhibitions of "ancient city scenery - collection of cultural relics exhibition" and "century wind and cloud - Yingkou modern history picture exhibition" are open to the public for free all the year round. At the same time, there are all kinds of constantly updated thematic exhibitions open to the public.

Collection

Yuan Dynasty pot with paste glaze and grass pattern

Cizhou kiln system was formed in northern China during the song and Jin Dynasties. It was one of the folk kilns in northern China from the Song Dynasty to the Yuan Dynasty. Because of its strong flavor of folk life, it was not appreciated by the literati class. The body glaze of Cizhou kiln utensils is thick, and the style is simple and rough. The craftsmen of Cizhou kiln summarized the things loved by the local people in their daily life at that time, drew on the porcelain with skilled and simple strokes, and created new decorative techniques with strong color contrast and artistic effect. The biggest feature of Cizhou kiln is the use of black-and-white contrast decoration method, with flower painting and flower picking two most popular. Painted flowers are black patterns on white glaze and brown patterns on black ground, which are called rust flowers. This method is bold and unconstrained, unique, and created the decoration field of later generations focusing on flower painting. Flower picking is to first apply black glaze or sauce glaze on the porcelain body, and then remove the space outside the pattern according to the pattern requirements to expose the porcelain body, so as to form a strong contrast between the color of the body and the glaze. Compared with flower painting, flower picking has a sense of three-dimensional level, its style is generous, fresh, lively and fluent, which has the typical characteristics of Chinese folk art.

This is a first-class cultural relic in the city museum, the pot with sauce glaze and grass pattern. It is a product of the Cizhou kiln system of the Yuan Dynasty. It was unearthed in Shengli village, Hongqi Township, Gaizhou city. Its modeling features are mouth astringency, shoulder fullness and round feet. No glaze was applied on lips and feet. The abdomen is divided into upper and lower parts by string pattern, and the patterns of rolling grass and peony are carved out by flower picking technology. The shape of the pot is simple and rough, and the lines of flower picking are simple and smooth, showing rich changes in simplicity. It is a typical utensil of Cizhou kiln system in northern Jin and Yuan Dynasties.

Nipping enamel ink bed

Nipping enamel, commonly known as cloisonne, is a famous metal craft that appeared in Ming Dynasty. It is generally believed that it developed in the Ming Dynasty, the glaze is mostly blue, so it is called cloisonne. In fact, in the Ming and Qing Dynasties, it was always known as nipping enamel, while Cloisonne was only used in the late Qing Dynasty and the early Republic of China.

Enamel is the old name of enamel, originated in Japanese, is made of quartz, porcelain clay, feldspar, borax and some metal minerals as raw materials, crushed and melted. The utensils are made of copper. The copper wires are used to carve out various patterns and patterns, and then filled with various enamel materials. After firing, they are polished, and the exposed copper wires are plated with gold and silver. The manufacturing process is very complicated. In the Qing Dynasty, cloisonne technology was more innovative and developed than that in the Ming Dynasty. There was a "enamel work", which was later merged with the "manufacturing office" to produce enamel products. In particular, the production of cloisonne reached a peak in the Qianlong period, with more than 20 kinds of glaze colors and more skilled techniques. There were many kinds of cloisonne, ranging from screens, beds and pagodas to penholder, inkstone box and inkbed

This is a Qing Dynasty enamel bed in the collection of the city museum. Ink bed is the stationery on which ink blocks are placed. The ink bed is 21 cm long, 9 cm wide and 4.3 cm high. It is made of copper. It is rectangular in several shapes, and its feet are rolled in. It is inlaid with symmetrical patterns of thread cutting enamel gouyun. The shape is soft and smooth, the thread is fine and even, the decoration is dense, the polishing is smooth, the gilding is bright, and the blue glaze is green and gorgeous. The whole work is small and exquisite, which makes people love it. It is a very typical Qing Dynasty thread enamel ware, which has the artistic style of brilliant gold, luxury and wealth at that time.

Yellow glazed bowl

Yellow glaze is a kind of low-temperature glaze with iron oxide as colorant. From the materials discovered, Xuande of Ming Dynasty is the earliest. In ancient China, Minghuang was the most important color, which could not be used by the royal family, especially in the Ming and Qing Dynasties. According to the records in the history of the imperial palace of the Qing Dynasty, the porcelains with yellow glaze inside and outside should belong to the Empress Dowager and empress; the porcelains with white glaze inside and yellow glaze outside should belong to the imperial concubines; the green dragon utensils in yellow and yellow dragon utensils in blue are the utensils of the imperial concubines and concubines respectively. The hierarchy is very clear. The pure yellow glazed ware, like the five clawed dragon, symbolizes the supreme status and power, which is sacred and inviolable. Therefore, the requirements for the production of yellow glazed porcelain are very strict. They are all specially made imperial utensils for official kilns, which are rarely seen in the folk.

This is a pair of yellow glazed bowls collected by Yingkou Museum during the Daoguang period of the Qing Dynasty. It is 6 cm in height and 12.5 cm in diameter. Open, deep belly, ring foot. The surface and interior of the utensils are all painted with yellow glaze, the bottom of the bowl is white, and the bottom of the six character blue and white seal script is painted with "the light year system of the Qing Dynasty". The bowl ware is regular in shape, fine in making, and the yellow glaze is bright and soft. According to the literature, the whole body application of yellow glaze should be the highest level of the imperial yellow glaze ware in Qing Dynasty. Although the bowl has been handed down for more than 100 years, it is still dazzling and has the royal temperament of the day.

Brush washing in Qianlong period of Qing Dynasty

In ancient times, as one of the permanent stationery on the desk of literati, brush washing not only has practical function, but also requires strong artistic appreciation. Therefore, the production of brush washing is often very exquisite, especially in the Qianlong period of the Qing Dynasty, which has reached a high artistic achievement and become the best of ancient stationery.

This is a red glaze brush wash in Qianlong period of Qing Dynasty. It is 3.8 cm in height, 9.5 cm in diameter and 11.8 cm in abdominal diameter. Oblate body, closed mouth, short circle foot, the whole body of the kiln red glaze. "Yaobian" is a skillful and natural decoration technique in Chinese ceramic decoration. It first appeared in the Jun kiln of Song Dynasty. Because of the composition of copper oxide and iron in the glaze, it presents gorgeous colors in the special kiln atmosphere. It has become a kind of art glaze with the most wonderful changes, the richest colors and the most complex shapes. By the time of Yongzheng and Qianlong in the Qing Dynasty, the craftsmen in Jingdezhen had mastered the law of glaze changing, and were able to produce various kinds of products with ideal effects. The brush washed glaze was mainly red, with blue in between. The glaze color was unpredictable, just like Festival fireworks. It was a typical variety of red glaze changing ware in the Qing Dynasty. The other is the blue glaze brush wash in the Qianlong period of the Qing Dynasty. It is 3.3cm high, 6.6cm in diameter and 10.2cm in abdominal diameter. Its shape is the same as the previous one, and its surface is covered with blue glaze. "Sprinkling blue", also known as "blowing blue", first appeared in the Xuande period of Ming Dynasty. Its production process is that the green material (containing metallic cobalt pigment) is blown on the carcass with a small bamboo tube covered with spinning yarn, and then a layer of transparent glaze red is fired at high temperature. Because the effect of blowing green can not be as uniform as dipping or brushing glaze, it shows different thickness and depth, like snowflake spots, forming a special artistic effect. In the Kangxi period of the Qing Dynasty, the production technology of blue glaze became more perfect, and it was also known as "fish seed blue" and "snowflake blue" at that time. It is very difficult to make the blowing process. A piece of utensil can be blown several times, at least three or four times, and at most seven or eight times. Therefore, only fine products can be glazed with this method. The brush washed glaze is smooth and delicate, and the blue is naturally symmetrical. It is a rare blue porcelain of Qing Dynasty.

Ma Shaoxuan's snuff bottle

In the Qing Dynasty, the wind of snuff was introduced into China, and quickly became popular in the upper class. The snuff bottle has become a necessary and playful object for the dignitaries, and the requirements for the artistic decoration function of the snuff bottle have become higher and higher. Therefore, the technology of inner painting of the snuff bottle came into being. The inside picture cigarette pot is a small bottle made of material (glass) or crystal. The inside of the bottle is shaken and ground into a milky translucent shape with iron sand and emery, and then dipped into the bottle mouth with a special elbow bamboo stick pen or bamboo stick Langhao pen, and various patterns are drawn on the bottle wall. The craft of inside picture cigarette pot is handed down from generation to generation

Chinese PinYin : Ying Kou Shi Bo Wu Guan