My system is not decent

Chapter 1900
The root art works "Jade Linglong Kirin" and "Phoenix" in the Qing Dynasty have been displayed in Dahai Yuyuan until now.

These works are "three parts artificial, seven parts natural", showing the charm of root art works at a glance.

After the re-opening, Genyi also entered a period of vigorous development.

The creative level of root art has reached a new peak.

Chen Wenzhe can only learn from some modern art, and what he wants to learn is some ancient technology.

Because there are too many modern tools that modern craftsmen can use, and only the ancients can only make them by hand.

According to archaeological findings, the ancients not only used wood, jade, bone, stone and shells to make decorations, but also used tree roots or bamboo roots to make decorations.

The pinnacle of root carving art must have been the Ming and Qing dynasties.

During the Ming and Qing dynasties, root carving skills have matured.

In the Ming Dynasty, there were the Jinling School represented by Pu Zhongqian, who is famous for bamboo root carving, and the Jiading School represented by Zhu He.

Root artists not only use wood and bamboo roots to create decorations for people to appreciate, but also carve furniture and other practical objects with practical value.

From the paintings such as "Golden Ancient Picture", "Peach and Plum Garden Picture" and "Zhanlan Pavilion" drawn by Suzhou painter Qiu Ying in the Ming Dynasty, you can enjoy various root carving artworks such as tree root chairs, tree root crutches and so on.

It is recorded in "Wuzazu" written by Xie Zhaozhe of the Ming Dynasty: "Wuzhong used dead wood roots as Zen chairs, and the foundation is here."

This proves that at that time in Wudi, the level of root art production had already developed.

The Sushi Museum houses boxwood tables and pen holders from the early Qing Dynasty, which are root carving works created by skillfully utilizing the shape of natural tree roots.

In the early 20s, the Su City Cultural Management Committee collected several halls of tree root furniture, one of which was a relic of Mao Bijiang, the fourth son of the late Ming Dynasty.

The home of Mr. Gu Duhuang, an expert in Kunqu opera in Suzhou City, has a "Langyu vase", which is also a fine root carving from the Ming Dynasty.

During the period of the Republic of China, the production and production of root art declined day by day, many artists changed their careers or changed jobs, and root carving skills were on the verge of extinction.

In the late 20s, root art revived and developed in my country, and many artists engaged in root art creation.

After 1980, with the development of Supai bonsai, it led to the "root art craze" in Suzhou, and a group of experts and experts engaged in root art creation emerged.

Since the 21st century, in recent years, the tradition of Wu culture has been carried forward in the creation of root art, and a batch of root carving art works with the characteristics of fineness, delicacy, elegance and strangeness have been produced.

Such as "Grass Dry Eagle Eye Disease", "Shadow of Cold Pond", "Ancient Plum Plum Vase", "Hydrangea".

There are also some other fine works, such as "True Image", "Ascension", "Head Head", "Style", Wang Liang's "Whirling Arc Shadow", "Facing the Cold Alone" and so on.

These have won national and provincial awards, and there is a treasure out of prosperity. The "Chinese Holy Root" named "Ancient Wood No. [-]" by the Chinese Academy of Forestry has aroused repercussions in the root carving art circle.

"Sacred Roots of China" is an original creation of the author, and it is based on a native tree species that is over a thousand years old - camphor wood.

It is 4 meters in diameter and 6 meters in length. It is huge and weighs more than 20 tons. It has criss-cross textures and fine wood.

It exudes a refreshing aroma, implying evil spirits, longevity, and good luck.

"The Holy Root of China" is hollow inside, and its structure changes like a shadow.

Since May 2007, the author has carried out high-pressure washing, polishing, and natural air drying on the basis of maintaining the original shape of the work.

He looks for the trace symbols in the material structure to create, and cuts and carves the raw materials in a targeted manner.

After two years, this work was completed on May 2009, 5.

Visitors will feel the agility of nature and ancient times when they look up close, or if they are in the tree hole.

In terms of artistic style, this work is not pursuing "likeness, tranquility, delicacy, and elegance", but rough, simple, and vigorous, which can be described as unique in shape and surprising in creativity.

Such a work should represent the highest level of modern root carving technology.

It can be seen from this work that the creation of root art takes a long time.

From material selection, modeling, conception and production, to naming, it takes a year and a half, or even longer, to complete.

The idea of ​​root art creation must focus on protecting the shape and beauty of nature to the greatest extent.

And all traces of artificial art re-creation should be hidden in the beauty of nature.

During the conception, a comprehensive observation of the root material should be made from multiple angles, and the final shape can only be finalized after repeated speculation.

The production of root carvings is more troublesome than stone carvings.

Compared with stone carving, wood needs to be processed.

Of course, wood is simpler to handle than stone.

However, it cannot be done well without technology.

The production process of root carving can generally be divided into eight steps: degreasing treatment, peeling and cleaning, dehydration and drying, shaping, finishing, matching and quenching, coloring and varnishing, and naming.

Material selection is the first step in root carving production.

There is definitely nothing to say about root carving treasures such as boxwood and sandalwood, because these materials are very good.

To make woodcarving materials, you must choose tree species with hard material, fine wood, stable wood, not easy to crack and deform, not decayed and immortal, and can be preserved for a long time.

Such as boxwood, sandalwood, beech, etc., are all good material varieties for root art modeling.

The dead roots submerged in silt or buried deep in the soil, the ancient gloomy root wood formed by carbonization for hundreds of years, its quality is almost close to that of fossils, and it is a good material for root art.

The selection criteria for the shape can be summarized into four types: rare, strange, ancient and strange.

Generally, the roots of trees that grow in the plains grow fast due to sufficient nutrients, and the wood fibers are relatively loose, so it is difficult to form peculiar shapes.

Only the roots that grow in harsh environments, such as those that grow in the back of the sun or in the crevices of cliffs and cliffs, and survive through lightning strikes, fires, ant erosion, stone pressure, human stepping, and knives.

Due to lack of light, lack of soil, water, and nutrients, it will gradually deform over time. The longer it is, the stronger the quality, and the stronger the shape. It is an ideal material for root art.

Making root carvings is not an easy task. There are eight steps, and one step cannot be omitted, and each step must be done well and carefully.

For traditional bamboo carving products, almost all round carvings use bamboo roots as carving materials.

Wood carving products are made of high-quality wood, or the base of the trunk, roots and galls.

The main reason for such selection of materials is to value the texture and tone of the material, which is not easy to rot and crack, and is delicate and suitable for engraving.

At the same time, under the premise of ensuring the integrity of the shape, it skillfully borrows the root form to create.

Due to the constraints of "three parts of carving and seven parts of nature", some people regard root art creation as root art creation.

In order to pursue this "seven parts of nature", some authors put their root art works in the open air and let them be exposed to the sun and rain. If they think it is slow, they use methods such as burning, acid etching, or termite bites.

When making root art works, the skin of the root material has already been peeled off, and the veins on the bast will gradually fade over time.

These two characteristics are not enough to explain the "artificial" and "natural" elements of root carving works.

(End of this chapter)