Chinese jade carvings are generally divided into four major schools: the North School, the South School, the Shanghai School and the Yang School. In the long history, the jade carving world has only the northern and southern factions. The “Northern School†jade carving is centered on Beijing. In the long history, especially in the 800 years since the founding of Beijing, the integration of northern grassland culture and Confucian culture of the Central Plains, influenced by Taoist thoughts, and the norms of palace governance, and Western art. Infiltration, "the world ruled jade capable craftsmen gathered in the capital city", which made the northern school jade carving become the master of Chinese jade carving art, and the former developed to the peak in the Ming and Qing Dynasties.
In the 1980s, the emergence of the “Four National Treasures†of Beijing jade carvings marked the northern jade carvings reaching another peak after the Ming and Qing Dynasties. These four national treasures are the "Shuyue Wonders", "Scented Jurui", "Guanfang Range Rover" and "Four Seas Tenghuan", advocated by Beijing jade carving master Wang Shusen, jade carving master and mechanic of Beijing Jade Factory, using four pieces of the National Treasure The large-scale high-quality jadeite, which began in 1982 and has been carved out for eight years, is a "shocking treasure". In 1990, the "Four National Treasures" won the State Council's award, and in the same year won the "China Arts and Crafts Hundred Flowers Award" gold medal, now in the National Museum of China.
The analysis of the artistic achievements of the "Four National Treasures" is of great significance to the evaluation of the artistic characteristics of the North School jade carvings and their status in the national jade carving world.
Jade Carving "Four National Treasures": "Mu Yue Qi Guan", "Yangxiang Jurui", "Guanfang Range Rover", "Four Seas Tenghuan"
First, the grand theme of "Tao Fa Nature" is the wonder of Taishan in "The Wonder of the Gods", the Yunlong Nine in the "Four Seas Tenghuan", or the magical dragon and tortoise in "The Fragrance of the Fragrance" The rare flowers in the "Fang Fang Range Rover" are all the grand themes of "Tao Fa Nature", which is the most remarkable and essential artistic feature of the Northern School jade carving.
Immortal art works must have an immortal theme, and "Yuyu" is a crucial step in determining the subject of jade carving. Taking "Yuyue Wonders" as an example, Master Gongmei repeatedly analyzed and studied jade materials. After several adjustments, he finally designed it as "Shanzi" and borrowed from Du Fu's "Wang Yue" poem: "How is Qi Zongfu? Qi Luqing is not. Zhong Shenxiu, yin and yang cut and faint. Dangling the layer of clouds, decided to enter the bird. Will be the top of the summit, a list of small mountains." The work fully shows the majestic momentum and deep artistic conception of Mount Tai.
Front and Back Photo of "岱岳奇观"
1 "Daofa Nature" and "Tao Law Nature" is Laozi's natural cosmology. It bears the long and heavy culture of the Chinese nation and embodies the brilliant wisdom of the Chinese civilization. It is called "human law, earth law, heaven and law." , the Tao is natural." The whole work of "Yueyue Wonders" is a three-dimensional reproduction of Chinese landscape paintings: the mountains and the emeralds, the ancient trees towering, the majestic Zhongtianmen, the steep 18th plate, the sky street into the cloud, the jade emperor in the volley, and the colorful clouds in the red sun Under the shining, a lively natural scene; the dust-proof bridge on the ditch cliff, the lonely Tianzhu Peak, the leisurely flock, the cheerful skylark, the late shepherd, the sunset, the night falls, one party The harmony of heaven and man...
2 “Self-improvement†and “Hundred Deeds†Northern School masters inherited the ancestor’s “all-true Taoist†Qiu Chuji’s understanding of the universe’s nature, and carried forward the bold and vivid style of the Yuan Dynasty jade carving, which was expressed in a very general way. The majestic and spring scenery of Mount Tai. The sun-faced mountains are majestic, stand tall and stand tall, symbolizing the spirit of the Chinese nation's perseverance. It seems to touch the kind of resolute and unyielding spirit; the shadowy forest and woods show, the green hills and greens, the seat of Meiting, against the backdrop The clouds, the deer running, the cranes and the cranes, show the grandeur of the Chinese nation's inclusiveness, the spirit of simplicity and generosity. The combination of the two shows the spirit of the Chinese nation's "self-improvement" and the spirit of "thickness and morality". The deep philosophies contained in it have profound enlightenment.
Second, the artistic realm of “returning to imaginary sufficiency and accumulating vitality as a male†expresses the artistic conception of the engraving object with a simple and indulgent pen, so that it can reach the artistic realm of “returning to imaginary and accumulating vitalityâ€. "Large freehand" is another remarkable artistic feature of the northern school jade carving.
1 "The daring of the daring" Chinese painting master Li Keran advocates: "The precious person is daring", the most valuable thing in artistic creation is to dare to innovate. The same is true of the northern school jade carvings. Taking "Sihai Tenghuan" as an example, the jade carving master boldly cuts the material into four pieces according to the color, texture and split distribution of the material, so that the area of ​​the spliced ​​screen is three times larger than the original one, making it the largest in the world. Emerald screen. Designed with the material splicing texture with a horizontal "W" shape composition, forming a strong impact and rhythm. In the magnificent sea of ​​clouds on the screen, the nine dragons prance, the powerful and powerful momentum of the dragon and the sea of ​​clouds rolling, lightning and thunder are combined, the overall picture is magnificent, very powerful!
In the "Four Seas Tenghuan", the designer has carved the best green sculptures in Kowloon, and painted the clouds, water and gas with white, green and enamel pinks to create a magnificent time and space scene. The shape of the dragon, with the technique of deep relief, one toe, one claw, one scale, one corner, are all traced to the slightest; in the white, pink, light cyan and other parts, the bas-relief technique is carved into the ripples of the clouds. At the same time, using the characteristics of the intertwined colors of raw materials, the relationship between Kowloon and the sea of ​​clouds and water waves is skillfully handled, so that the shapes are intertwined and the colors are intertwined, thus truly achieving the "image sublimation, the rhyme and dazzling", showing the "noisy" sea in Kowloon. The four seas are "happy", the highest artistic conception of the image and the charm.
In this depiction, it not only expresses the free-spirited rhythm of lightness, depth, density, and dispersion, but also fully pays attention to the strict modeling of sketching and realism, and achieves a high degree of perfect integration, showing the fusion of Chinese and Western. The artistic theory is highly successful in the practice of creation.
3 "The soul of the person who wants" and "the soul", that is, the creation must have the spirit of the times. The nine dragons designed in "Tianhai Tenghuan" have different shapes. They capture the strength and strength of the dragons in the Han and Tang Dynasties, and remove the fierce and fierceness of the dragons. They take the grace of the dragons in the Ming and Qing Dynasties, remove their bloated, and deal with the dragon's form. Good form: majestic and majestic, strong and elegant, magical and not weird, free and easy, not arrogant, representing the heroic and unruly Chinese spirit. It is this kind of free-spirited and free-spirited “big freehand†that shows unstoppable patriotic passion and sincere desire for national rejuvenation, so that the artistic works truly enter the realm of “returning to imaginary and accumulating vitalityâ€. .
The Northern School jade carvings create the intention and theme of "Tao Fa Nature" with the style and technique of "big freehand". It expresses a national spirit and a big realm that is majestic, vigorous and free.
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