The main raw materials of Dongyang woodcarving are camphor wood, pine and poplar, but also cypress wood, mahogany (rosewood), Fraxinus mandshurica, Metasequoia glyptostroboides, spruce, yew and Taiwan Province pine. Its craft types include painting-free carving and drawing design carving, both of which pay attention to creativity and "painting" and have high artistic value. Dongyang woodcarving themes are mostly historical stories and folklore, and the patterns are rich and varied. And "full of flowers" is also interspersed with rich sculptures, adding figures, landscapes, flowers and birds, animals and so on. In terms of artistic techniques, Dongyang woodcarving deals with the scattered perspective relationship of height, distance and plane, with the scattered perspective or bird's-eye perspective of China traditional painting as its composition feature. Its content can be richer than western reliefs, and it can get rid of the shackles of western sculpture painting laws such as "near the big and far from the small", "Jing Qing" and "false vision", and fully display the content of the picture, which can be described as "there is a picture in the picture and a scene in the scene".
The traditional styles of Dongyang woodcarving mainly include "carving style" and "ancient style", and later "micro-carving", "Beijing carving" and "painting" of traditional opera culture came into being. It is believed that the "painting style" pays attention to the arrangement of characters' positions, the dynamic changes of characters' postures are numerous and vivid, the scenery levels are rich, and the context is overlapping and unambiguous.
The themes of Dongyang woodcarving are mostly historical stories and folklore. Screen design is closely related to China traditional painting, with rich and varied decorative patterns. "Full of flowers" is also interspersed with rich sculptures, including figures, landscapes, flowers and birds, animals and so on. In terms of artistic techniques, Dongyang woodcarving deals with the scattered perspective relationship of height, distance and plane, with the scattered perspective or bird's-eye perspective of China traditional painting as its composition feature. Can fully display the content of the picture, without being bound by the western sculpture painting laws such as "near the big and far from the small", "close-up view is clear" and "horizon is empty". The carving techniques of Dongyang woodcarving are mainly relief, which combines more than ten techniques, such as deep hollow carving, hollow carving, hollow double-sided carving, semi-circular carving, three-sided carving, cylindrical carving, struggle carving, shadow carving, tree root carving, colored wood mosaic carving, hollow sticking carving and so on. Exquisite carving, fine washing, not hurting the whole, strong. For example, "through-the-air double-sided carving" is a technique of carving flowers on both sides after cutting them. The overall pattern, compact structure, good air permeability and durability are often used for carving on hanging corridors, doors and windows, palace lanterns, screens and cabinets of houses. Form determines style. Dongyang woodcarving has rich composition, rich and delicate layers, vivid images, exquisite craftsmanship, exquisite and elegant style, perfect combination of practicality and appreciation, and has a unique artistic style. This artistic style is based on the unique plane relief art of Dongyang woodcarving.
One of the characteristics of Dongyang woodcarving is full composition, rich content, vivid description, proper plane preservation, artistic effect of seeing the big from the small, especially suitable for expressing strong story content. In other words, in a certain plane and space, its content can be richer than that of western relief, which is the advantage given to me by tradition. The key points of plane relief techniques that Dongyang woodcarving is good at can be summarized as the composition method of scattered perspective, the modeling skill of combining line and plane, the hierarchical treatment method of properly retaining plane, leaving small plots and high stacking.
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Technical principle of plane relief of Dongyang woodcarving
Comparison of plane relief techniques between Dongyang woodcarving and Chaozhou gold lacquer woodcarving
2. Dongyang woodcarving blank-making skills
Traditional dongyang woodcarving masters and apprentices teach each other, "three years as apprentices, four and a half years as works", and the design and production are not separated. Contemporary Dongyang woodcarving has been divided into three types of work: design, blank making and polishing. The division of labor between blank making and polishing began after industrial production in the early 20th century, and in 1950s, the design and production process were separated. Cutting is the core of Dongyang woodcarving technique. The older generation of artists began to learn from simple polishing, and then learned to make blanks after a certain foundation. Blanking is the key process to complete the three-dimensional modeling of works. Not only should the plane lines of the design draft be turned into three-dimensional images, but also the basic modeling should be polished to determine the general tone of the work. At present, the shortcomings of some works are mostly related to ignorance of blank making: for design, if you don't know blank making, it is difficult for you to design a "three-dimensional" draft, and the blank maker can't make your design effect if the draft is not good; For Xiuguang, if you don't know how to leave blank, it will be difficult for you to "add icing on the cake" in your works.
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Basic technological principle of dongyang woodcarving blank making process steps of dongyang woodcarving blank making
Key points of blank-making technology of Dongyang woodcarving
3. Dongyang woodcarving polishing skills
Finishing is not the repetition of blank making. Finishing is to remove the scars, scars, burrs, etc. left during blank making according to the design creativity and the requirements of the theme content of the artwork. At the same time, it is necessary to carefully reprocess the artwork from the whole to the part to make the work vivid, beautiful and touching.
Cutting and grinding are the two main processes of Dongyang woodcarving: cutting mainly considers the great effect of the work, that is, composition, quality, block surface and plastic arts. Xiuguang focuses on meticulous work, and has made great efforts in fine and fine aspects.
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Polishing techniques of Dongyang woodcarving: three basic skills of polishers: polishing techniques of Dongyang woodcarving-polishing process steps
Polishing Skills of Dongyang Woodcarving —— Essentials of Polishing Skills
4. Title and signature of Dongyang woodcarving works
Early Dongyang woodcarving rarely signed money, which is probably due to the fact that handicrafts in the old society were regarded as "small skills of carving insects", the social status of craftsmen was low, artists did not have the confidence of "immortality" and their own cultural literacy was low, so they could not sign money. The appearance of Dongyang woodcarving began in the late Qing Dynasty and the early Republic of China, and it appeared at the same time as the "painting style"
The content of the inscription generally includes the inscription indicating the theme (name) or artistic conception of the work and the content indicating the creation background, such as the author's name, creation time, seal, etc. For the convenience of narration, we call the words expressing the theme or artistic conception of the work "title", and the other parts are called "inscription", collectively referred to as "inscription". First, woodcarving should not be exposed to high temperature.
Woodcarving crafts, like other works, are not suitable for high temperature environment. Exposure will make wood brittle and hard, but the texture will be destroyed, especially on the balcony. They should also be placed next to curtains and in the shade. For example, the wood of longan wood carving is hard, so it is necessary to avoid sunlight, and the indoor furnishings should be kept in a humid environment to prevent cracking. At the same time, wood carving crafts should not be placed near open flames, fire walls, kang and stoves.
Second, wood carvings should not be placed in damp or extremely dry rooms.
In a very humid environment, some wood carving crafts grow "hairs". For example, green sandalwood crafts will spit out silvery white silk. Although it is a beautiful scenery, as far as I know, many people don't like it very much.
In an excessively dry environment, some wood carving crafts may partially crack. Besides, people's living standards are much higher now than in the past. The simplest thing is that life in the north has heating in winter and air conditioning in summer. Therefore, it is necessary to pay attention to wood carving crafts not to blow directly at the air outlet. Keep him away from the heating pipe.
Third, wood carving should not be wiped with a towel dipped in water.
It is not advisable to wipe with a towel with water, but it is better to wipe with a pure cotton towel containing wax or grease. Many people buy wood carving crafts and like to wipe them with wet rags. If you often wipe it with a wet rag, it will make the water go deep into the wood carving and gradually damage the wood carving. So when cleaning, you can use dry cotton cloth or feather duster to dust off the wood carving crafts. If it is found that the wood carving handicraft has a bad luster, you can use a brush to coat the surface of the wood carving handicraft with wax light and polish it with a rag. Or wipe with a waxy or oily fabric. Usually, according to whether the room is clean or not, dry cotton cloth or feather duster is often used to dust the wood carving crafts to show their natural beauty. Of course, you can also dip a cotton towel in walnut oil and gently rub it on the surface of wood carving crafts to achieve the desired effect. But don't wipe it with a towel dipped in water, which will make the wood carving crafts too wet, but it will not achieve the expected effect and hurt them. Small pieces of mahogany can be redder and brighter when often wiped, which can add quaint artistic conception.