My system is not decent

Chapter 1868 Humanization of Shinto Paradise Palace

What Chen Wenzhe saw next were imitations of stone carvings from the Ming Dynasty, such as the Zen high-relief sculpture of a large lotus seat.

This is a work in the early Ming Dynasty, with a surface diameter of 42, a bottom diameter of 58, and a total height of 20 cm.

It is a bluestone carving, the lotus seat is huge in size, round as a whole, with a flat bottom and a flat bottom, the top is narrowed and the bottom is sparse, the shape is calm and regular, and the charm of Zen is born.

The surrounding edges are full of embossed lotuses, and the end is rolled up with high-relief Ruyi flowers, which is full of three-dimensionality.

Because the high relief of Ruyi flowers protrudes from the body, it is very easy to be damaged when handed down from generation to generation. However, this work is preserved now, and the high reliefs are extremely intact, which is very rare.

This work is a treasure handed down from generation to generation, and it seems that the stone basin was taken out by the family.

In addition to this relief, there are also a pair of imitation stones in the garden of the Ming Dynasty.

36 in length and width, 65 in height, the stone table has four outstretched legs and three bent legs, just like the Ming Dynasty furniture standard, with dragons and phoenixes lightly carved in the middle of the four legs, the whole is full of carvings, exquisite workmanship, and the bluestone is basically intact.

I just saw two works from the Ming Dynasty, and then I saw a lotus seat from the Tang Dynasty. It seems that he has crossed borders, or are they all lotus flowers so they got together?
This lotus seat has a diameter of 64 and a height of 28. It is fully carved and has full lotus petals.

The base is carved with hexagonal and six-sided lines, and the whole product is bluestone.

Next is the Jinyuan stone lion squatting, Jinyuan period, height 79, 34-40, bluestone.

The stone lion is in a squatting posture, with its mouth open and its teeth spit out, its hair curled up, and its posture is mighty and majestic. It is a typical stone carving of the Jin and Yuan Dynasties.

It is extremely rare to see a small lion on each of the front two legs and feet. Due to the long history of handing down, the shape of the small lion has been damaged and gradually blurred. It is rare for the whole lion to remain intact.

Therefore, it is only a genuine product, that is, a large number of stone lions handed down from generation to generation, and the stone carving works are not easily damaged, so that the number of such works passed down to later generations is relatively large.

It's just that, like stone lions, there are many people who collect them, and there are still a few who can see the real ones on average.

The collection of this kind of stone carvings is not as good as some special things, such as the stone pillars with full-length high-relief carvings and auspicious animal patterns.

This is obviously also a work of the Ming Dynasty. It is 45 square meters, 33 meters high, and bluestone.

The stone seat is square, with Ruyi-style shawls, and the pot doors are opened on all four sides.

Inside, there are lion, tiger, kylin, sika deer and auspicious animal patterns in high relief, implying wealth and auspiciousness.

The flowers and leaves on the bottom of the four feet are rolled with beads, which is a classic style of the Ming Dynasty.

It is also genuine, and its appearance is basically complete, which is really rare.

"Huh? Is this the Jinshi? The Jin case?"

Ming Dynasty thing, 79 cm high, bluestone.

The flat-headed stone case is based on the woodwork of the Ming Dynasty. The surface of the case and the tooth board are made of one stone, and the image of cloud teeth is sour.

The legs and feet are used as board feet, and the bottom is dug as mud, so that the ground is stable and firm.

The shape of the whole vessel is solid and thick, with double-sided work, making it a good product for elegant garden display.

The following things are all works of the Ming Dynasty, like the stone plaques in the courtyard of the Ming Dynasty.

It is 70 cm long, 38 cm wide, and 8 cm thick. The frame is decorated with continuous patterns, and three characters are engraved in the middle.

There is another Ming Dynasty Kidnap Dragon Yunhe Stone Case, 168 in length, 39 in width, and 75 in height, made of sand and gravel, from the Jincheng area of ​​Western Shaanxi. intact.

The following early Ming Dynasty running lion is 105cm long, 46cm wide and 80cm high.

The running lion is large in size and heavy in weight. It wears a saddle and holds a rein in its mouth, as if it is running.

Now Chen Wenzhe has seen the stone carvings of Sui, Tang, Ming and Qing Dynasties.

Obviously, the stone carvings here should also be in series, because there are also stone tablets from the Northern Wei Dynasty.

my country's ancient stone carving is a special category. From the initial production to the beginning of the 80s before stone carving was valued, the products of each period have their own specific styles and will not be copied by future generations.

Because for the ancients, stone carvings are always sacred objects loaded with inner beliefs.

Sculpture is divided into two forms: sculpture and sculpture, one is addition and the other is subtraction.

Carving belongs to subtraction and is difficult to control. It is very difficult to achieve both form and spirit.

Shaping is addition, which is relatively easy to master.

Ancient craftsmen were all masters, and addition is always easier than subtraction.

Of course, this is just for comparison.

In addition to ancient times, stone carving works did not really form a unique style until the Han Dynasty, and these styles also have their own characteristics.

For example, the stone carving works of the Han Dynasty, also known as the Shinto period.

The ancients of this period collected local materials and carved them according to the shape, without losing the refinement of points, lines and surfaces in the rough.

In order to save labor, it was the biggest feature of that period to refine the beauty of shape with thought.

Huo Qubing's Horse on the Huns and Stone Statue in front of Huo Qubing's tomb are the most representative works.

There are also a large number of unearthed stone portraits, which also reflect the people's generalization of the height of shape at that time, their understanding of death as life, and the inheritance and development of ancient legends.

In the Wei, Jin, Southern and Northern Dynasties, this period was called the Paradise Period.

During this period, due to the popularization of Buddhist culture and the integration of nationalities, the themes of stone carvings became more diversified, and the styles and techniques reached an unprecedented level.

At this time, the Buddha sculptures are not only grand and dignified, but also elegant and lively.

The scale of sculpture production is magnificent, the quantity is huge, and the artistic skills have been greatly improved. Buddhist sculpture occupies the dominant position in this period and has the most outstanding achievements.

It draws lessons from foreign artistic achievements, mainly in Buddhist statues.

The process of war and integration between different dynasties and nations is also a process of great integration of different cultural systems and different stone carving styles, which laid a solid ideological and cultural foundation for the cultural unification of the Sui and Tang Dynasties.

This period is the paradise period of stone carving, all works are like the pen made by heaven, sacred and inviolable.

In the Sui and Tang Dynasties, that is, the palace period, this period was the peak of art.

During the Sui and Tang Dynasties, my country regained unity and stability after experiencing division and turmoil that lasted for about three and a half centuries.

At this time, it entered a historical period of unprecedented political and economic prosperity, which prompted a new peak in the development of sculpture art.

The stone carvings of the Sui and Tang Dynasties combined the achievements of the Southern and Northern Dynasties, and absorbed the nutrients of foreign art through the Silk Road. The sculpture art shined in the prosperous Tang Dynasty, creating an immortal masterpiece with the style of the times.

The Song and Yuan Dynasties that followed were the period of humanization.

The sculptures of the Song and Yuan Dynasties lacked the grand scale and unrestrained momentum of the Sui and Tang Dynasties, but developed in the finely carved realistic techniques.

At this time, religious sculptures played an important role, the trend of digging grottoes had declined, and temple sculptures still had a certain scale.

Due to the further secularization of religious art, the idealized elements in statues of gods and Buddhas have been significantly weakened, while the atmosphere of real life has been greatly enhanced.

In the Ming and Qing dynasties, it became a secular period, because the works of this period were more down-to-earth.

Stone carvings in the Ming and Qing Dynasties continued to develop along the ancient tradition, presenting stereotypes and secularization.

The techniques of expression are becoming more and more folk, forming an artistic style of exquisite workmanship, complexity, slenderness and bright colors.

(End of this chapter)