CHAPTER 1

清 竹絲纏枝番蓮多寶格圓盒 高24.5公分，直徑18.5公分

這件圓盒外壁用竹絲拼接後再黏飾纏枝番蓮紋竹黃片，並且利用機軸原理，將圓筒形盒分成四個扇形，180°打開來可成為一字形小屏風，360°翻轉後可成為一個正方形筒狀。每個扇形內又分成許多格層，其中圓柱形格層不但再分成數格，而且可以360°旋轉。全器匠心獨運，極盡設計之能事。在這件圓盒格層內收貯了27件小文玩，除了有古代與清代玉器外，尚有清代乾隆朝內廷畫家的繪畫作品，有手卷與冊頁。每一個扇形的最下層之三角形抽屜內應收納一件手卷，目前僅餘三件，分別是「方琮畫山水」、「楊大章畫花卉」與「李秉德畫花卉」，它們的縱長只有七公分左右。在其中一個扇形中央的三角形抽屜中則收納了一件金廷標畫的人物小冊頁，它的長與寬僅三公分左右。它們幾乎可說是國立故宮博物院所藏最袖珍的手卷與冊頁，彌足珍貴。

The outer wall of a round box with bamboo stitching then stick decorated the Lotus Scroll Shiraia piece, and the use of the machine axis principle, the cylindrical box is divided into four quadrants, 180 ° open to the small screen as a glyph, 360 °The inverted can become a square cylindrical shape. Each sector is divided into a number of grid layers, wherein the cylindrical mesh layer only then divided into a number of cells, and can be rotated 360 °. Full is imaginative, the culmination of a design as possible. In the the round box grid layer Shouzhu the 27 small text play, in addition to the ancient Qing Dynasty jade And there was a Qing Dynasty Qianlong inner court painter's paintings, hand-rolled with the album. A hand-rolled every fan of most lower the triangle drawers, storage currently are down to three, namely, "Fang Cong painting landscapes", "Young big chapter painting flowers" and "Li Bingde painting flowers", their longitudinal length only seven centimeters . Triangle in the center of one of the fan-shaped drawer incorporating a the Quintin standard painting figures small album, the long Kuanjin three centimeters. They almost say the National Palace Museum has the most compact hand-rolled with the album, precious.

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清 象牙鏤雕提食盒 高45.4公分，橫長30.4公分，縱長21.6公分

此件提食盒之盒身設計分成四層屜格，可分層置放不同的食物，但從它吹彈欲破的表面看來，作為觀賞陳設用的藝術品，可能性要大於真正實用的器物。雕工十分之精細，主體的部分用鏤空精雕的象牙片，嵌置於框格中，背景就像是絲毯一般的直線地子，線與線之間微細到只能用巧奪天工來形容，其上還雕飾有人物、鳥、獸、庭園景物和船,像是十八世紀歐洲人幻想的東方樂園。蓋鈕，盒身框架及提手，都有染有淡藍或紅色來點綴。提把上刻有中國傳統的八仙人物，亦隨畫面所需加以染色，蓋鈕則像是一件西洋帶蓋高足瓶，還有紅色緞帶裝飾。

Clear ivory Loudiao mention food containers 45.4 cm, cross 30.4 cm long, 21.6 cm lengthwise

Mention food containers box body design is divided into four drawer grid layered placement of different foods, but it is apparently blowing shells Yupo, as ornamental furnishings with the works of art, more likely to be greater than the real practical artifacts. Carving is very fine, the main part of the with hollow carved ivory piece inlay placed sash background like silk rugs generally straight line sub-line with the line between fine and intricate to describe on carving figures, birds, beasts, garden scenes and boats, such as the 18th century, Europeans Oriental paradise fantasy. Cover button, the box body frame and handle, has a stained blue or red to decorate. Mentioning engraved on traditional the Eight Immortals figures, in tandem screen is required to be dyed, cover button like a Western lid pupil bottle, there are red ribbons decorated

Hanfu and Art

Hanfu （漢服）

Hanfu (simplified Chinese: 汉服; traditional Chinese: 漢服) or Han Chinese Clothing, also sometimes known as Hanzhuang (漢裝), Huafu (華服), and sometimes referred in English sources simply as Silk Robe[1] (especially those worn by the gentry) or Chinese Silk Robe refers to the historical dress of the Han Chinese people, which was worn for millennia before the conquest by the Manchus and the establishment of the Qing Dynasty in 1644. The term Hanfu derives from the Book of Han, which says, "then many came to the Court to pay homage and were delighted at the clothing style of the Han [Chinese]."

Hanfu has a history of more than three millennia, and is said to have been worn by the legendary Yellow Emperor. From the beginning of its history, Hanfu (especially in elite circles) was inseparable from silk, supposedly discovered by the Yellow Emperor’s consort, Leizu. The Shang Dynasty (c.1600 BC-1000 BC), developed the rudiments of Hanfu; it consisted of a yi, a narrow-cuffed, knee-length tunic tied with a sash, and a narrow, ankle-length skirt, called chang, worn with a bixi, a length of fabric that reached the knees. Vivid primary colors and green were used, due to the degree of technology at the time.

12th century Chinese painting of The Night Revels of Han Xizai (韓熙載夜宴圖) showing musicians dressed in Hanfu

The dynasty to follow the Shang, the Western Zhou Dynasty, established a strict hierarchical society that used clothing as a status meridian, and inevitably, the height of one’s rank influenced the ornateness of a costume. Such markers included the length of a skirt, the wideness of a sleeve and the degree of ornamentation. In addition to these class-oriented developments, the Hanfu became looser, with the introduction of wide sleeves and jade decorations hung from the sash which served to keep the yi closed. The yi was essentially wrapped over, in a style known as jiaoling youren, or wrapping the right side over before the left, because of the initially greater challenge to the right-handed wearer (the Chinese discouraged left-handedness like many other historical cultures, considering it unnatural, barbarian, uncivilized and unfortunate).

Chinese paintings of this theme of characters. The earliest extant painting on silk of the Warring States, it depicts the wide sleeves hanfu, slender waist, and reveal the aesthetic of that era. The stone sculpture of the Han Dynasty, Tang Dynasty, Song Dynasty, figure painting, mainly clothes are then made​​. Tang Dynasty "pound practice," Palace Concert "," Wearing Ladies can be said that the peak of Chinese Paintings, is also today the people study hanfu history of important reference. The same is true of the portraits in the Ming Dynasty. The Qingbingruguan, Dressed service, prohibits service hanfu, barbarians attire, painter unworthy of a painting "portraits gradually decline. The realistic portrait reducing antique paintings of beautiful women increased.

a book cover

Book Name: IN THE MIRROR;

By: Robin Lythgoe;

Language: English;

ISBN: 9781465943705

The color remember me wood, grass, fresh air,even fog and mud. It is a very beautiful cover in which texture, typography, illustration and concept unite into one, cohesive whole. I like this cover design, because it looks does not only fantasy but also true.

Robin Lythgoe submitted In the Mirror designed by Robin Lythgoe. “Design by Robin Lythgoe; line-drawing by MarshaLee Champagne; artwork by Robin Lythgoe.”
"With the help of Lythgoe's spot on descriptions - not to mention the beautiful cover art - I could practically feel the mirror under my fingers. I own an old mechanical typewriter that I used to write many a poem on when I was younger. It belonged to my father and the clack and clatter of it when he used to write was a well-loved sound to me. Lythgoe's story brings to mind many memories of my youth and childhood and how the simple things were very special. In the Mirror is well crafted, full of deep emotion, wonder, loss, hope and most of all, magic.      --Kristie Kiessling, Reviewer

This book talk about a disillusioned author haunted by the disappearance of his father inherits a mirror and discovers that his own story can have an alternate ending. The book cover doesn't show anyone, but it make people feel : yes, this is the book's soul .

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Hi, This is Jing Lang. Welcome to my blogger.