My system is not decent

Chapter 1903 The World's Most Precious Root Carving

Camphor wood is used in the folk to make furniture, carvings, wood products and home decoration.

This is a kind of construction and furniture, no deformation, resistant to insects.

Camphor wood is fine and dense, with natural texture, tough texture, not easy to break, and not easy to crack.

Folks often use camphor wood to carve Buddha statues. Needless to say, it is also a good wood for carving.

Since folks are mostly used for carving, the number of holdings is naturally high.

And how can woodcarvings made of so many precious woods be passed down through the ages?This naturally requires good maintenance.

As for root carvings, there are many key points that must be paid attention to in the maintenance of root carvings.

The maintenance of root carvings is mainly to prevent the root carving works from being exposed to direct sunlight, let alone long-term sunlight exposure.

Excessive light will cause the color of the work to fade, the wax layer on the surface will melt, the paint film will age and fall off, and even the material will crack.

Since it cannot be exposed to strong light, root carving works must also be prevented from being stored in a dark and humid environment.

If the humidity is too high, it is easy to breed mold, diseases and insect pests, resulting in mildew, insects, and rotten cavities.

Root carving works are generally not suitable for washing, let alone soaking in water, pay attention to air circulation.

During the period, it is also necessary to prevent chemical substances from being in contact with the root carving works, so as to avoid chemical reactions, causing damage to the protective film on the root carving surface or shelling.

It should be placed indoors away from places with strong air flow such as doorways, windows, and air outlets, and should not be exposed to strong direct sunlight.

It should not be placed near open flames, flue walls, heated kangs, and stoves.

Do not place it near the heating system in winter, and the indoor temperature should not be too high.

It should not be placed in an extremely humid or extremely dry room - in a very humid environment, some woodcarving crafts will grow "hair".

For example, green sandalwood handicrafts will spit out silvery white silk.

In a too dry environment, some woodcarving handicrafts may partially crack.

To keep the surface clean.Because it is completely exposed, it is easy to get dust, especially the engraved part, which is more likely to accumulate dust.

The dust contains various oxides and sundries, which should be removed in time, otherwise the surface of the handicraft will be corroded.

It can be wiped with waxy or oily cotton towels every day.

Generally, if you have the conditions, you can wax it once every six months, and then use a dry cotton cloth to degrease and polish it. Be careful not to wipe it with a towel with water.

These are actually soft protection, and hard protection, which is to avoid trauma.

In the collection, try to avoid collision and impact, especially the collision of metal utensils.

Especially the openwork parts should be protected emphatically.

Finally, and most importantly, moth-proof and insect-proof.

Most of the pests are various wood borers and termites, and collectors can use chemical anti-moth methods.

For example, place camphor balls, or you can use the spray that is usually used to spray mosquitoes, and spray several times on the parts with moths.

The reason why the root carvings are so carefully protected must be that each root carving is, in principle, unique.

Every piece of root carving is a miracle bestowed on us by nature, especially some of the treasures are even more ingenious, so we should protect them naturally.

Only when you walk into the collection circle of root carvings, you will truly understand how difficult it is for every good root carving to appear.

And now Chen Wenzhe knows that root carving only exists in my country and is popular all over the world.

It is also now that he knows how big the largest root carving is, which is a 32-meter giant root carving "Along the River During the Qingming Festival".

The work is 32 meters long, 2.2 meters wide, and 2.8 meters high. It was completed by more than ten craftsmen and took nearly four years.

It should also be the most precious root carving in the world, because its material is carved from a huge piece of ebony.

This ebony tree is more than 5000 years old and is taken from the bottom of the Minjiang River.

This ebony is 27.5 meters long and 1.92 meters in diameter at breast height, and weighs nearly 30 tons!
It is dark and looks like a crouching dragon!
More than a dozen top sculptors in my country doubled the "Along the River During the Qingming Festival" by Zhang Zeduan of the Ming Dynasty, and it took more than 15600 hours to complete it!
And it is creative, three-dimensionally reproduces the whole picture of the original work!
Therefore, to make root carvings, first look at the selection of materials.

Only with good materials can there be good works. This is the premise and the key.

Material selection is the first and most important step in root carving production.

Whether it is the Taihang aged thuja produced on the cliffs of the Taihang Mountains, or the widely distributed moso bamboo, these materials are always eye-catching after being handed by the master.

It is more difficult to make a very delicate and aura work.

The main difficulty is to conceive and create according to the natural shape of the tree root, and the production process needs to be modified according to the situation while doing it, and a lot of life experience is needed to support it.

For example, to make a birthday peach, you can’t build a car behind closed doors. Before starting the idea, you have to go to the peach garden to see how the leaves and the trunk are connected and what the ratio is.

In my country, root carvings such as the Qingming Riverside Scene are not uncommon, such as a giant root carving with a total length of 680 meters and a formation of five hundred arhats.

This piece is currently the world's longest giant root carving array of five hundred arhats, created by a master after ten years.

There is also the heaviest root carving, a giant lion root carving.

This root carving weighs 30 tons, is 11 meters long and 4.2 meters high.

According to the processor of the root carving, this is currently the largest "Lion King" in my country.

It took four root carving masters more than half a year to complete, and the processing cost alone was more than 4 million yuan.

There are two pieces that are slightly smaller than this one, which are two root carvings of "sacred cows".

It is 9.6 meters long, 4 meters high and weighs 12 tons and 15 tons respectively.

These two root carvings are carved from the whole root of a nanmu tree that is more than 3000 years old, and the hair on the whole body is skillfully represented by countless root nodules.

Then there is the mammoth root carving, even the teeth of the mammoth are very realistic, and the texture on the body looks very vicissitudes of life!

There are cheetahs among the animals, and immortals among the characters. These are rare treasures.

For example, the cheetah root carving, although it is a "big mac" among root carvings, it is not inferior to small ornaments in terms of detail workmanship.

Generally speaking, it takes more than a dozen masters to work together for several months to complete a giant root carving work.

Therefore, the creation of root carvings takes a long time, from material selection, modeling, conception and production to naming, as short as three to five days, and as long as half a year.

The idea of ​​root carving 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.

Many root carving works that Chen Wenzhe saw left a deep impression on him.

For example, bamboo joints are made into awning boats, and the bamboo roots connected with them are carved into fishermans.

The bamboo roots stretch out their teeth and claws, and the roots are woven to become the coir raincoat on the fisherman.

There are also several cormorants standing on the boat, lifelike;
The branches and leaves of a welcoming pine made of thuja cypress spread out. Under the cover of the leaves, a bird's nest looms, with three young birds waiting to be fed...

(End of this chapter)