Detailed data collection of Jinling bamboo carving

Jinling Bamboo Carving is one of the important schools of traditional bamboo carving art in China, which keeps pace with Jiading School and becomes the double wall of bamboo carving art in China.

Jinling bamboo carving is famous for its simple and simple carving style. This technique is not deep and the level is not reduced. The surface is slightly scratched, but Liao Liao's brushwork is far-reaching. At the same time, Jinling bamboo carvings are very particular about the use of round carvings and the selection of materials is very strict. When carving, he is good at taking shape without artificial modification, which is simple and elegant. Jinling School is good at bamboo carving calligraphy, which adds rich humanistic flavor to traditional bamboo carving in China. In the history of Jinling bamboo carving, there are exquisite skills and many famous artists, which is unique in the history of arts and crafts in China.

Chinese Name: Jinling Bamboo Carving Category: China Traditional Bamboo Carving Art Style: Shallow Carving and Simple Carving Time: Introduction to Jinling Bamboo Carving in the Middle Ming Dynasty, Founder, Introduction to Jinling Bamboo Carving in the Middle Ming Dynasty, and Jiading Bamboo Carving at the same time. Jiading bamboo carving is famous for its profundity, while Jinling bamboo carving wins with shallow carving and micro carving. Jinling bamboo carving wins with shallow carving and micro carving. The representative figures of Jinling bamboo carving are mainly: Li Yao, the word. According to historical records, "He is good at carving bones, carving exquisite flowers and plants, and can also carve teeth and catch a knife for the third bridge of Wen Zhiming's eldest son." Pucheng was born in the 10th year of Wanli (1585). His bamboo carving is good at carving according to the shape of bamboo. It is strange that bamboo is intertwined, and he doesn't care about knives and axes. He scratches a little and sketches a few knives, which is different from ordinary ones. The prosperity of Jinling bamboo carving art in the late Ming Dynasty was also related to the social aesthetic atmosphere at that time. In the middle and late Ming Dynasty, the social fashion changed from the "simplicity" fashion in the early Ming Dynasty to "no lofty halls at home, no extravagant clothes", and social life gradually became extravagant. The gentry and literati "lead extravagance and extravagance", embroidering households to carve buildings and flower stone gardens, and the original quaint bamboo utensils have also begun to be finely crafted, becoming their favorite desk play. As far as the wind is concerned, ordinary citizens are also dancing in groups. This objectively promoted the development of bamboo carving art. The bamboo carving art in Ming and Qing Dynasties, especially the Jiading School initiated by Zhu He and the Jinling School initiated by Pu Zhongqian, was the most prominent, and the two schools kept pace and became the double treasures in the history of bamboo carving art in China. Jiading Bamboo School was founded by Zhu He and Qin Long (1522- 1572) during the Jiajing period of the Ming Dynasty. He is good at poetry, calligraphy and painting, and has profound artistic attainments. Knowing the ancient seal, the wonderful seal will not be passed on. Therefore, in the design and production of bamboo carvings, brushwork is often integrated with knife method. Pen holder, incense burner, armrest, Buddha statue, etc. The production is simple and clumsy, but also subtle and meticulous, mostly carved in five or six layers in parallel for "hollowing out". In his view, if the bamboo carving is impenetrable and deeply carved, it can't be carved. Different from Jiading bamboo school, which is exquisite and deliberately seeking work, Jinling bamboo school is famous for its simple carving style. This technique is not deep and the level is not reduced. The surface is slightly scratched, but the artistic conception is profound. At the same time, the Jinling Bamboo Party attaches great importance to the use of round carvings and selects strict materials. When carving, he is good at taking shapes without artificial modification, which is simple and elegant. Jinling School is good at bamboo carving calligraphy, which adds a strong literati flavor to the traditional bamboo carving in China. This is the artistic charm of Jinling Bamboo School and the concrete embodiment of its main features. However, Jinling Bamboo School was founded by Pucheng, and few people personally taught or were directly influenced by it. After Pujia, only Pan Xifeng and Fang Huan made the most outstanding achievements and gained great fame, and they were regarded as the two pillars of the bamboo carving art of Jinling School by later generations. They mainly use the knife bas-relief technique, carving with the shape, becoming a natural thing with elegant style. Pucheng (1582-? Zhong Qian, a native of Jinling, mainly lived in Wanli and Chongzhen years. His bamboo carvings are mainly shallow, combining line and surface, which is quite different from the "high, deep and transparent" style of Jiading bamboo carvings, and the carved scenery is quite interesting in Chinese painting. He is good at carving bamboo roots. He can often use simple knife method, skillfully carve according to the natural form of bamboo, carve with the shape, be natural and unique, and win with natural interest. Zhang Dai (1597- 1679), the first volume of "The Legacy of Tao An Meng" in the late Ming Dynasty, specifically recorded Pu Zhongqian's sculpture: "Nanjing Pu Zhongqian has an ancient appearance and an ancient heart, but if he is incompetent, his skills are skillful and superb. Its bamboo wares, a broom, a brush, bamboo inches long, sketching several knives, the price is two. However, those who are complacent must use the tangled roots of bamboo. I really can't understand that they were not surprised by their knives and axes, but they were slightly scratched by their hands and paid a heavy price. Zhong Qian is very famous. If he wins one of them, things need to be expensive. Zhong Qian has dozens of people who moisten Sanshan Street. Zhong Qian is extremely poor and comfortable. When you see beautiful bamboo and rhinoceros in your friend's seat, you should take care of yourself. I don't belong to it. Although it was robbed and made a profit, it was not available. "In Song of the Bamboo Tube Tile Cottage, a beginner in the Qing Dynasty praised Pu Zhongqian's simplicity, twists and turns, and ingenuity, and said that Zhong Qian could chisel slightly to see the interest of nature. Liu Luan's Five Stones is called Water Mill. He used this technique to carve fan bones, wine glasses, pen containers, handrails and other artifacts, which are simple and lovely, wonderful and loved by the world. Generally speaking, the wool carving and shallow carving that Jinling Bamboo School is good at belong to the carving method of bamboo carving. The wool carving is the shallowest, and the score is as thin as a scratch. Most of them are carved with one knife, and the notches have burrs. Generally this method is not suitable for deep objects and details. Shallow carving, the notch is very shallow, and it is often necessary to see the knife marks under high light. The shallowest intaglio carvings are mostly used for handrails and fan bones. Its knife marks are not only wired, but also faceted, which can engrave calligraphy and painting. Shallow engraving in a broad sense also includes Yang Wen's extremely shallow relief, such as Pu Zhongqian's shallow engraving, which is famous for its harmonious and rich pictures and simple and skillful knife work. Pu Zhongqian's original works are extremely rare. Generally speaking, the carvers are tedious and the subjects are vulgar, and most of them are forged by later generations. The Palace Museum in Beijing has a small pine-shaped pot carved with Pu Zhongqian's bamboo roots, which has a strange shape. The pot body, lid and bottom are carved into a vibrant Gu Song. The handle and spout of the kettle are two twisted pine branches; The whole body is leafy, shade-like, novel in conception, concise in knife cutting and simple in style. The handrail of Mr. Wang's old collection "Snow Scene and Cold Forest" is a typical work of Pu Zhongqian's bamboo carving, with three huts and ancient wooden rafts between rocks; The mountains in the distance stand tall, the rocks are made of wood, and they are written in Yin, which is very simple and summarized. The layout of the knife method is simple and intriguing in terms of simplicity. On the left is a poem written by Cheng Jiasui (1565- 1643) about the twelfth year of Chongzhen. Of course, the rise of Jinling Bamboo School in the late Ming Dynasty was not achieved overnight, but also related to Li Yao, a bamboo engraver in Jinling during Zheng De and Jiajing years. Li Yao, who is famous for his exquisite writing style, has a very important influence on Pu Zhongqian's bamboo carving. In a sense, Li Yao is the pioneer of Jinling Bamboo School. He is good at ivory seals, painting landscapes, flowers and birds with knives, and his painting style is simple and lively. Wen Peng, a master of seal cutting in Ming Dynasty, made many tooth marks. He also carved fan bones, and the flowers and plants he carved were exquisite and famous. It was not until the Qing Dynasty that there was a saying that "old Beijing Fan Gui was Li Zhao". Pucheng carved a fan, actually following Li Yao's footsteps. The artistic features of Jinling Bamboo School can be summarized as "simple and elegant". The so-called "Jane", bamboo is cheap and easy to get. After carving, there is no need to paint, oil or paint. Even take its natural form and grind it into tools to see its simplicity. To sum up, the materials and treatment methods of bamboo carving are simple and clear. The so-called "high" refers to the high artistic value of bamboo carving. Because bamboo is cheap and easy to get, sculptors must try their best to create a variety of techniques, learn from various themes, measure the shape of the instrument, write the mood, give full play to the characteristics of bamboo, and compete with other carving techniques. So in a certain sense, it also means superb carving skills. The so-called "elegance" is the most bookish art of bamboo carving, and bamboo carving technology has changed from craftsman carving to literati creation. As a result, the interest pursued by bamboo carving has undergone a qualitative change-the craftsman spirit is weakening day by day, the bookishness is gradually increasing, and bamboo carving has gradually become a platform for literati to talk. In fact, in the mid-Qing Dynasty, a remarkable change took place in the art of bamboo carving, that is, a large number of bamboo carving artists with high attainments appeared. They were different from ordinary craftsmen, not only being able to use carving techniques freely, but also being artists with high literary accomplishment. They often personally participated in the production of bamboo carving, designed the shapes and patterns of their works, and absorbed the nutrition of calligraphy and painting art, so that their works got rid of the vulgarity of ordinary craftsmen and became more elegant literati temperament. This has changed the concept that people used to regard bamboo and wood carving skills as "fantastic skills and cunning", and it has gradually become an elegant thing to play with famous bamboo carvings. Pan Xifeng (1736- 1795) is a typical bamboo carving scholar. His achievements are quite high, which will further carry forward the Jinling Bamboo School. Pan Xifeng is from Xinchang, Zhejiang. I regard bamboo as my life and love carving bamboo, and attach great importance to the application of carving techniques, the choice of decorative themes and the innovation of modeling and composition. Therefore, some people praised the poem: "Old Tung and bamboo are bosom friends, and bitter bamboo carving is trouble. "His bamboo carving master Cheng Pucheng is mainly shallow carving. He is good at using the natural deformity, curl and corrosion traces of bamboo to carve and shape a device with both spirit and spirit. His knife technique is concise and accurate, and there is nothing missing. Zheng Banqiao (1693- 1765) praised him as "the man after Zhong You in Puyang". Pan Xifeng's career is struggling. He used to be the adjutant of Nian Gengyao (1679- 1726), and he gave a lot of help. Later, he refused to accept it, that is, he brought his clothes back to China to make a living. He used exquisite bamboo to carve Wang Xizhi's Seventeen Posts, which was absolutely exquisite and was appreciated by calligrapher Weng Fanggang. The deformed bamboo handrail, with insect erosion spots, is in sight, like no hands, and has a natural taste. The inscription is simple, few words and meaningful and interesting. It can be seen that Pan Xifeng's bamboo carving also has the wonderful work of "simplicity without embarrassment". Pan Xifeng's works handed down from generation to generation are few, among which the bamboo root carved plum blossom pen holder in Guangdong Folk Arts and Crafts Museum is the most representative, with a thick shape and a thin bottom, and a conformal rosewood seat is specially placed at the bottom for stability. After cutting off the original fibrous roots, the bamboo in the pen container presents numerous scars with different sizes and strange images. After polishing these scars, various plum blossom petals are carved on the top, which are vivid and ingenious, revealing the spirit of beauty in simplicity. His official script said, "Empty your heart, strengthen your festival, and let me study, so that we can seize the day.". Old boy. " Punning adds a bit of literati to the pen container. As Jo Yeo-jeong's Antique Guide said, "Bamboo sculptors also carve bamboo. His works are the same as calligraphy and painting, except that he used a knife instead of a pen and made paper ears out of bamboo. The difficulty of painting and calligraphy is unknown. It is easy to use a knife and bamboo now, and it is even more difficult than painting and calligraphy. "The Bamboo People's Festival in the late Qing Dynasty, with the function of imitating calligraphy and painting on bamboo, has gradually become a trend. As a result, the techniques of round carving, high relief and through carving, which prevailed in Jiading Bamboo School in the past, gradually declined and almost became a masterpiece. At the same time, the Jinling Bamboo Sect, which is used to shallow carving, also has the potential to come back to life, and once again became popular, but it was a spent force after all. After Daoguang, Jinling Bamboo School gradually disappeared, almost disappeared. At that time, most of the descendants of Jinling Bamboo School took Pu Zhongqian's "simple and elegant" shallow carving as their purpose, advocated simplicity and simplicity in knife cutting, and took the natural taste and reproduction of calligraphy and painting as their highest pursuit. They believe that exquisite craftsmanship is easy to reveal, and craftsmen's works are more technical than natural interest. As far as subject matter is concerned, in addition to painting books and figurines, many famous painters, who sketch from life with fruits and vegetables, or carve themselves, especially like to imitate inscriptions, which also reflects the preferences of literati. The main varieties are fan bone, handrail, pen container and bamboo stick-these categories are also loved and commonly used by literati. During Jiaqing and Daoguang years (1796— 1850), Fangfang, a native of Shexian County, Anhui Province, who lived in Huangyan, Zhejiang Province, became the main pillar of Jinling Bamboo School. He inherited Pucheng's legacy and made great achievements in bamboo carving, becoming a representative figure of Jinling Bamboo School in the later period. Fang Qi is good at poetry, calligraphy and painting, fine iron pen, especially bamboo carving. His name is "Zhu Fang", his yin and yang are concave and convex, his sketches are rubbings, and his heart and hand are integrated, all of which conform to the regulations of Jinling Bamboo School. In particular, bamboo handrails and yellow bamboo are the most prominent ways to carve figures or portraits in Yang Wen bas-reliefs, while the face is embossed on the ground and the rest is carved in the shade. The two are just right, both in form and spirit, lifelike, and can be called "unique art". Critics call their carving method "shallow carving in the ground". At that time, many celebrities asked Fang Huan to carve figurines. According to "Past as a Dream", Fang Heng "made a statue of Lushan Mountain on his arm to release Liu Shou (1791-kloc-0/858), and it was better to make eighty elephants for Ruan Yuan. "The landscapes, flowers, figures and portraits carved by Fang Huan are all based on their own paintings and are full of personality. He used a knife with a pen handle, and was good at integrating the change of brushwork into the technique of using a knife, which revealed the unique charm of China's calligraphy and won the praise of the world. Li Lanjiu's "Xi Yun Shi Chao" says: "Fang Zi can paint and write this book. I'm afraid I'm sweaty and good at expressing my feelings. "Admiration is beyond words. Su Wu handrail of Shanghai Museum is Fang Fang's representative work. Su Wu sat on the ground, tied a continuous knot, behaved seriously, and the clothing pattern was simple. His carving method is based on bamboo table, and his knife method is not deep, and his shape is beautiful and generous. Throughout the development history of Jinling Bamboo School for hundreds of years, it has experienced the development from elegance and diversity in the early stage to simplicity in the middle stage. Although it changes from time to time, the overall style remains basically the same. In the artistic trend of carving and copying calligraphy and painting, shallow carving and simple carving are the main methods, and the charm of pen and ink is sought by the interest of bamboo carving, thus realizing the perfect combination of bamboo carving and calligraphy and painting. However, it needs to be pointed out that it is carving and copying calligraphy and painting that caused the bamboo carving to be blocked by calligraphy and painting, which is also the crux of the monotony and simplicity of Jinling Bamboo School in the late Qing Dynasty. As Mr. Jin lamented in the book "Bamboo Carving Art": "Bamboo carving has a lot in common with calligraphy and painting, but sculpture is sculpture after all. Sculpture is three-dimensional art, and calligraphy and painting are graphic art. How to abolish three-dimensional art and replace it with graphic art? Therefore, the greater the interest in painting and calligraphy of bamboo carving, the less interest in carving. Can bamboo carving become a vassal of painting and calligraphy? " This should be a subject worth pondering.