Background: The art of Putian has a long history and can be traced back to the millennium. "Engraved in the heart of the wood, by the thunder can rise", Putian folk legend, in the Northern Song Dynasty, the prime minister Cai Jing in his hometown of Putian Jiuyi Lake dreams and realizes, they will bring together local craftsmen, according to the idea of ​​dreams to use the Kyoto court The combination of painting and calligraphy techniques has produced a unique style of woodcarving furniture. This move has created a precedent for the “Xian Zuo†craft that was later screaming.
As a well-known master of arts and crafts in the country, and has won many awards such as the outstanding achievements of the Chinese Arts and Crafts Hundred Flowers Award, the jade carving creation of the designer of the world's jade family, Guo Guozhen, continues to break through innovation in the inheritance, integrating the atmosphere of the times and contemporary beauty.
In the 1930s and 1940s, Putian woodcarving masters, Wen Wenke, Zhu Pingshou, Chen Xiange and the famous painter Liu Ronglin, took the characters of Li Geng, the master of Chinese painting, into the sculptures, forming a rounded character style featuring the style of the martial arts. . The deeds of many masters who have worked together to create folk art classics have so far fascinated the descendants. Now that the people have gone, their works are still handed down in the form of art. In the places where the predecessors lived, their works have been scattered for the enjoyment of future generations. The Guan Yu statue of Guandi Temple in Hanjiang Garden, the Big Buddha of Xianyou Lingshan Temple, and the wooden carving decoration of the old folk house in Jiufeng Village of Jiufeng Village in Xiangcheng District are masterpieces of the world. Fujian Province was selected as the third batch of national intangible cultural heritage list recommended items, of which the Putian woodcarving list is famous. Putian woodcarvings flourished in the Tang and Song Dynasties and flourished in the Ming and Qing Dynasties, with a unique traditional style. From the time when the works were handed down, it was traced back to the Ming Dynasty.
Q: What is the traditional craftsmanship or creative concept unique to your family?
A: My father, Wenke and my brother, Guoping Guo, are well-known folk artists and masters of arts and crafts in Fujian Province. I have been learning and learning since childhood. At that time, in order to make a living, the family had visited many temples in the country to build Buddha statues for local temples or temples. In practice, they accumulated valuable experience and enriched their experience. Now I want to come, after many years of sculptural career, the most heavy accumulation of the Yu family is the word "heart is like water, everyone has everyone". My father often teaches us that the most important thing is to evaluate the merits of a sculpture, especially a Buddha statue, in addition to its skills and forms. As a sculptor, you must maintain a normal heart and strive to achieve the heart of the water, so that you can sculpture a truly solemn and quiet Buddha statue. He asked us to strengthen in all aspects of creative concept, artistic vision, cultural accomplishment, etc. While absorbing the essence of traditional craftsmanship, we dare to innovate and boldly combine modern carving techniques to inject new vitality into traditional arts and crafts.
Question: What are the common features of the Jade Buddha sculpture launched by Yujia in the world?
A: I think there should be two points:
First, pay attention to the charm. I think the word "ecstasy" is an unshakable tradition of Chinese art. Especially in shaping the image of the unclear gender such as Buddha images, I emphasize the portrayal of the inner world of the characters, and pay attention to the echo between the characters, the characters and the birds and beasts. The performance of the inner world of the character depends to a large extent on the facial expressions of the characters, especially the fine characterization of the eyes. For example, the "Southern Buddhism Buddha" which is dedicated to people and the "Guan Jing Guanyin" as Ruyi Ruyi. The second is to match the wood carving technique to a large extent, which is not unrelated to my early practice of wood carving. I like to transplant the traditional art of three-dimensional round carving, fine translucent and triple-transparent carvings in the jade wood carving into the jade carving, forming a unique jade carving style, such as the works "Putuoyan" and "Western Sansheng".
Q: Please tell us more about the creation of the famous work "The Complete Guanyin"?
A: "The Complete Guanyin" is a kind of Guanyin Bodhisattva that I recently created. Its biggest feature is simplicity and nature, simple and solemn. In the styling, she boldly abandoned some dogmatism in the traditional statues of Buddha statues, such as no longer taking into account the elements of the bottle, willow, scripture or "white fluttering" that often appear in Guanyin statues, but through the solemn face of Guanyin itself. And calmly to influence the sentient beings, and this should be the greatest "consummation" of the Dharma in modern times. There is no need for a ritual, no majesty, no incense, and some are just the induction of the mind. In the craft technique, the processing method of the litchi surface (rough surface) is used to treat the Buddha clothing, and the jade material thus presents a different visual effect. This work is deeply loved by many great sorghum and collectors. Dr. Shi Dingxiong of Indonesia’s Xianda Guanyin Temple evaluates this work as “a successful attempt to apply traditional craftsmanship and modern aesthetic taste to the theme of Buddha.â€
Question: How is the distinctive personal style of woodcarving in the creation of jade carving?
A: We all know that the knife technique in the creation of woodcarving is the key, because usually the woodcarving tool is very sharp. It can be said that a light stroke will produce the "effect" of "a thousand miles lost", so I am in the early years. When wood carvings, they developed the habit of "slow thinking fast". Affected by this, in the practice of stone carving, I think this is also a better method. It is said that “there are thousands of chiseled carvings, one place is inadvertently paying for the eastâ€. Before carving, it should be carefully thought out. The basic prototype should be deeply imprinted in the mind in advance. It should be decisive in the stage of the knife or the meteorite. The speed should be fast. There is a firmness in the "ten and ten wins", and it should not be cut a little. After a while, I can remember to fix it here and then make up some points. This is hesitant to say that it is impossible to produce good works.
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