Hui'an relief
The relief is a semi-stereo engraving for the image shape floating on the surface of the stone (as opposed to the sinking). According to the difference in image depth and depth, it can be divided into bas-relief and high relief. The bas-relief is a single-level statue with a single content; the high-relief is a multi-level statue with more complex content. The embossed carving technique and performance genre are basically the same as the round sculpture. Many large-scale commemorative buildings and high-end residences and houses in ancient and modern times are decorated with such decorations. The main works are wall plugs, flower windows and dragon pillars (early) and pillar foundations.
The embossing process has a long history. The earliest embossed works in the territory are the lotus relief stone bricks on the dome of the tomb of the Tang Dynasty and the tomb of the moon. The moon goddess on the Luoyang Bridge in the Song Dynasty and the Maitreya and Guanyin statues on the front and back walls of the Huangtang Yanfeng Temple. . Although these works are shallower and have a rougher carving, they are slender and beautiful, with smooth lines and high level of skill. During the Southern Song Dynasty, Hui'an artisans participated in the construction of the Quanzhou East and West Towers. The reliefs such as Buddha statues, King Kong, figures, birds and beasts were vivid and vivid. The swords and pens were full of artistic appeal, and the students were flexible and surpassed in the stone body. After that, the 32 statues of Buddha statues and five Buddha statues and patterns of the Fushan Mountain Pagoda, as well as the moon and moon maps of the Islamic tombs in the early Ming Dynasty, the geometric figures, and the carvings of the Qur'anic sentences, are also quite good in shape and carving. In the Ming Dynasty, Hui'an had stone carving workshops, and the skills were greatly improved. During the Jiajing Period (1522~1567), the newly rebuilt Hui'an Confucius Temple Dacheng Hall and the front of the Tuen Mun were a pair of simple and smooth lines, simple and vivid white stone dragon pillars, and several bluestone pillars surrounded by flowers and birds, realistic and elegant. The foundation, as well as the embossed works of the Qilin phoenix Baishi wall plug in the front of the Tuen Mun, which has a simple image and a high artistic concept, has a tendency to develop from a bas-relief to a high relief. According to the measurement, the dragon on the column floats out of the cylinder, up to 10 The remaining centimeter, the dragon's head protrudes from the highest point of the cylinder to more than 30 centimeters. In addition, there are the Ming Dynasty Shibeifang, which is now annihilated in the north gate, the south gate, the Xinting tail, etc., and its embossed reliefs such as Liangzhu, Yuci, cards, arches, multi-layered rafts, etc. They are all treasures of the Ming Dynasty stone carvings.
In the late Ming and early Qing dynasties, the embossed products gradually turned into deep carvings (high reliefs), and the craftsmanship became increasingly fine. In the Qing Dynasty, stone carving artisans liked to use grass stone, stone dragon column and high relief to turn into openwork, nearly round carving, variety, craftsmanship, styling pursuit of rich. At that time, Hui'an's dragon and phoenix pillars, flower and bird pillars, and the carving of dragons, tigers, unicorns, flowers and birds, and people's walls were intricate and colorful, and they were praised by people. During the Daoguang Period (1821–1851), more than 30 people including Huizhou Wufeng stone carving artisan Jiang Guoheng and Jiang Jinhui and his son, the stone monument square outside the east gate of Xianyou County, was built with a set of historical figures and two small square pavilions. In the late Qing Dynasty, the artist Shi Jiang’s "Shi Gong Case" story carved on the stone pavilion next to the White Reef Temple in Xiamen and the two "four unlike" reliefs in Jinjiang Chenlin Village are rare. The masterpiece. At that time, Hui'an artisans who live overseas are carving famous stone carvings in the famous temples such as Putuo Temple, Pujue Temple and Guanyin Temple in Singapore. They are highly praised by overseas people.
During the Ming and Qing Dynasties, due to the superior skills of Hui'an artisans, the wealthy of Jinjiang Chidian, Zhongxiandi of Nan'an Shijing, the Philippine Overseas Chinese of Guanqiao, and the new (Gaipo) overseas of Merrill Lynch, etc., were built into dozens of buildings. They all hired Hui'an master to sculpt the stone carving decoration of his house.
At the end of the Qing Dynasty and the beginning of the Republic of China, Hui'an artisans opened a stone shop in Fuzhou and Xiamen to produce a large number of tombstones for export. Most of them were carved with double dragons and flowers and figures, and the price of the whole tomb was as high as 3,500 yuan. During this period, Taiwan’s Dajian Temple, Jiang Jinhui and others in Chengdu contracted all the stone processing business of Wanhua Longshan Temple, and produced many relief sculptures, openwork sculptures, and embedded sculptures. Among them, there were pavilions and combat horses in the story of self-defeating gods. The square stone window, and the carved square, octagonal flower window with dragon, crane, bat and other mascots, as well as the stone drum seat and other walls carved with the pattern of "Ying Long Xianrui" and "Shuanglong Zhuzhu" Block, and so on. Jiang Jinhui’s engraved works, such as the “City of the City†and the “Three English Warsâ€, are well-characterized and well-structured in Taiwan. The temple is now one of the eight major landscapes in Taiwan. At that time, temple buildings across Taiwan, the construction of houses and the tombs of wealthy families liked to hire the craftsmen of Wufeng Jiang’s surname to preside over the construction. There was a saying that “no Chiang is not a fieldâ€.
In the early years of the Republic of China, Hui'an artisan Jiang Wenzi and others completed the decorative reliefs of stone pieces such as Nanjing Sun Yat-sen Mausoleum and Guanghua Pavilion Octagonal Goldfish Pond. The carvings are exquisite and well-known at home and abroad.
After the founding of the People's Republic of China, Jiang Ruisheng used a piece of 100 kilograms of bluestone at the Hangzhou Academy of Fine Arts to engrave a high relief of "Mulan from the Army" with both form and spirit, and the art level is extremely high.
In the 1950s, Hui'an artisans used superb stone carving skills in the construction of Jimei's "Guanyuan", and carved more than 40 consecutive relief sculptures on the wall of the 50-meter long corridor in the garden. Among them, young artist Jiang The ancient historical stories and heroes such as "Chen Sheng Wu Guang", "Anti-Golden Soldier", "Liang Hongyu" and "Wen Tianxiang" by Rui Sheng; series of pictures of "Chen Jiageng's Life" designed by old artist Jiang Bingding, and the creation of "Nanchang Uprising" Modern historical stories such as "May 4th Movement", "Lugou Bridge" and "Northeast Cavalry Battle"; "Dongdu Jinsha River", "Yan'an Rectification" and "Hunan Red Army Group" by old artisan Jiang Washui and others Waiting for modern historical stories. There are also military reliefs such as military defense, cultural science and technology, education and art, sports and health, agricultural production, mining industry, geography and folklore, wedding celebrations, places of interest and historical sites, as well as insects, birds and beasts scattered throughout the garden. Multi-point embossed inlays such as flowers and trees. The characters they carved were very realistic, using weapons such as guns that were as thin as a line of incense sticks, and the horseshoes of the mounts were as small as beans. There are many masterpieces and masterpieces, and there are so many enumerations that it has cast most of the fine works of Hui'an reliefs. It has been called "the stone carving museum", "the treasure house of stone carving art" and "the miracle in the history of world art".
In the 70s, the "Sword Dance" sculpture created by Hui'an Stone Carving Factory portrays the light posture of the ancient girl's sword. The sword is half a foot wide and half a centimeter wide. Two bow-shaped hollows are in the air. The sword fluttered down. The charm of the carving is a must, which is called a skill.
In the late 1970s, Hui'an artisans carved three large reliefs with a height of 2.4 meters and a length of 10 meters on the "August 1st" Nanchang Memorial Tower, which was the crown of reliefs of the past dynasties.
In the 1980s, a series of stone lanterns with round and floating features complemented each other. Some of them are cleverly combined with 30 pieces of blue and white stone, hollowed-out grid holes, screw-shaped arches, and silk-studded inlays, especially the green dragon attached to the white pillars and seemingly rolling and prancing, which makes the static lanterns even more The momentum of the stock is comparable to that of the satin-made paper and the graceful palace lanterns. In 1985, the new 2 foot bluestone coloring tombs exported by the hand-blocked "24 filial piety" relief, sensation in Singapore, Malaysia, Hong Kong and other places.
Iron plate relief
The iron plate embossing uses the characteristics and primary colors of the iron plate, and the uneven relief effect is struck on the one-millimeter-thick plate. After the polishing and burning, the black and white color or the color-like sketch is created. Visual effects. The metal texture of the iron plate, especially the unique special texture expressed by the sculptural language, is unmatched by any other material. It is a new school of engraving art after the combination of metal carving art and western painting and engraving art in Chinese folk traditional crafts.
Sandstone relief
It is a sedimentary rock, Changlong relief. It is called sandstone, and the sandstone relief is composed of agglomerated crystals of mineral bauxite. It is made up of stone particles deposited on the riverbed by water erosion and solidified after thousands of years of accumulation. After the earth's orogenic movement, it formed today's mine. Sandstone relief is a kind of sculpture that engraves the undulating image on the plane. It is an artistic expression between the sculpture and the painting.
The spatial structure of the sandstone relief can be a three-dimensional three-dimensional shape, or a certain planar shape; it can be attached to a certain carrier or relatively independent. Generally speaking, in order to meet the viewing needs or decorative needs of a specific viewpoint, the prominent feature of the sandstone relief relative to the circular sculpture is the two-dimensional or planar characteristic after the compression of the shape.
The carving and shaping on the plane enables the sandstone relief to combine the technical advantages of sculpture and painting to maintain the diversity and diversity of the techniques. The perspective reduction in the two-dimensional space and the background depiction or virtuality of the main body image make the sandstone relief sculpture more powerful than other sculptures, especially round sculptures, without losing the expressiveness of the general sculpture.
White marble relief
The white marble relief is a kind of relief. Emboss is a product of the combination of sculpture and painting. It uses compressed methods to process objects, and uses three factors such as perspective to express three-dimensional space, and only for one or two sides. The relief is generally attached to another plane, so it is used more on the building and is often seen on utensils. Due to its compact nature and small footprint, it is suitable for decoration in a variety of environments. In recent years, it has occupied an increasingly important position in the urban beautification environment. The relief is as colorful as the sculpture in its content, form and material. The embossed materials are stone, wood, ivory and metal.
Purple sand pottery relief
Zisha pottery embossing is another form of expression that combines relief art, painting, carving and pottery. Zisha pottery embossed from 2,500 years ago, the early Zisha pottery relief is generally reflected in the daily living utensils. With the progress of the times, people's pursuit of art. From the small and elegant Bogu tea table in the interior, Zisha Tao jumped into a large and empty large square and towering large buildings, which became an important part of the environmental art, not only transforming its practical scope into a new one. The field, and enriching the language of contemporary relief art, has found a new path for the ancient purple sand art. Due to the charm of the material itself and the renewal of the traditional concept, the modern large-scale purple sand pottery embossed art form is diversified, which is more of a sense of the times and distinguishes it from other ceramic art. In the process of creating large-scale purple sand pottery embossing, the production process is a very important means. Due to the renewal of concepts, the original technology can not meet the specific needs, especially how to make each piece tens of pounds and more than ten centimeters thick. The monolithic purple sand bricks are not deformed, burst, and full of color and shape and burned successfully under the blazing fire. This is a combination of a very complex process of craftsmanship and the creation of sculpture art. Zisha pottery embossed with modern art language for engraving, no need to re-mold the mold, completely retaining the sculptor's original carving technique and expression style, fully demonstrating the sculptor's collision when facing the material and content in the creative process. Inspiration and sparks, as well as expressions of thought, released emotions and emotional feelings. After the baptism of fire and the smelting of high temperature, the purple sand pottery embossed shows the ancient, rough, heavy, unrestrained power and beauty, revealing straightforwardness and aura, intriguing
Black pottery relief
The emergence of pottery made humans understand that cooking is a milestone in the civilization of human society. China had the birth of pottery in the early Neolithic era. The birth of pottery was synchronized with art from the beginning, and the emergence of black pottery further improved the system. Pottery technology and kiln transformation methods, high relief black ceramic boutique is the representative of Longshan culture, making the world attract attention. The high relief double dragon play bead bottle ----- dragon is the most sacred and auspicious symbol of Chinese culture. Through the high relief sculpture, the works make the two dragons live and play, and play a harmonious scene of fireball in the clouds.
High-relief and translucent plum bottle-----Meihua is the spiritual symbol of the Chinese nation. It has the spiritual qualities of perseverance, perseverance, courage and self-improvement. Through the high relief and openwork methods, the author shows her in the works, embodying the lofty quality of welcoming snow, chilling and fragrant, and iron bones. The work won a silver medal at the 1998 National New Product Expo and was selected by the National Science and Technology Commission to be exhibited in countries around the world.
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