The Sheikh in the Southern Dynasties put forward the “six religions†painting theory in the book “Picturesâ€â€”a vivid and lively rhyme, a bone-based pen, a proper pictographic form, a variety of colors, a business location, and a transfer model. Since the "six-laws" theory proposed, Chinese ancient paintings entered the period of theoretical self-consciousness, and posterity artists used this as a measure of the success or failure of painting.
In 1968, the 19-year-old Li Chunxi presented to the apprentice Yang Shijun, who was known as the "Yang Yang," and was awarded the apprentice "paintings." "Six Laws" has become the artistic realm of Li Chunyu's ambition for a lifetime. At various stages of his life, he tried to incorporate the magic of painting into ** sculpture.
When you meditation on Li Chunyu's recent ** work, a song of the Song Dynasty floats into the eyes. The carving craftmanship goes to the simple and complex, and the lines are smooth. Li Chunxi tries hard to integrate modern aesthetic tastes into the classic style of Li Chunxi. He studied between “likeness and dislike†for 50 years, and finally presented the ancient method of “vivid and lively†to a Chiseling a shovel in a conscious artwork.
Concise and lively
In the studio on Baiziwan Road in Chaoyang District, Beijing, Li Chunxi showed a reporter a 15cm-high “small Buddha†tooth carving. The small Sakyamuni Buddha's right hand refers to the sky and the left index finger points to the ground. The flesh's arm is slightly curved and full of strength. It is accompanied by smiling eyes, open mouths, and a real small breast. It is a world of utmost arrogance. Children, out of a little body.
This statue of “Little Buddha†is a model of 108 small golden Buddhas customized by the China Mint Corporation for the 2012 Bathing Buddha Festival. In order to accurately represent the state of the Buddha, Li Chunxi and experts from the Fayuan Temple and Fayuan Temple in Beijing studied several times, overturned the first two finished products, and changed the details of the Buddha's French style, smiles, hands, eyebrows, and chest.
When the second buddha and the third finished buddha were all in front of one another, they could only use the “living†to describe the latter, and the carved “living†buddha was not complicated and seemed to be used only. A few lightweight shovels. It is somewhat regrettable that before the appearance of the Bathing Buddha Festival, reporters could not take pictures of this proud and proud little Shakyamuni.
Compared with the meticulously detailed and detailed **artworks seen in the past, Li Chunxi's works can be described as unusually concise. Many people who first touched can't help but queried “too simple, no work†and “what is this difficult?â€
His tooth carving is wonderful here. "Concise" rather than "simple", remove the extra modifications, leaving the "flavor", the taste of culture. “A good work must be look-resistant, and the more interesting it is, the more it is liked, and the more visible it is. Why does painting need to be left blank? Because it’s true and false. A work of art will tell you that it is the author’s inner feelings and cultural connotations. There is also a social background.†What Li Chunling hopes to achieve is to get rid of all the miscellaneous things that will affect perceptions, leaving a concise form that allows people to see lively charms.
"Learning craft like a parabolic of throwing stones"
The concise beauty of Li Chung's ivory sculpture was not something that was originally there, but was consciously formed in the past 20 years of accumulation and contemplation.
Li Chunyu, who was of the same age as the Republic, had misunderstood the middle school exam in the same year after graduating from the middle of 1964. He had learned that he had been working as an apprentice and worked in a Beijing ** carving factory after he had loved painting. At the age of 15, he was attached to the tooth carving.
During the apprenticeship period of three years, the tooth carving factory adopts the "Junior Two System" training method. Work 6 hours a day, 2 hours to paint. When he first started working, the apprentices first learned to use tools to grind the chisel and sharpen the knife, and after two weeks they began to familiarize themselves with the material and make small pictographic objects.
Two years after entering the factory apprenticeship, "**" began. Lee Chung-ho who is not "red" is politically unappreciated. "Without rebellion, we should do something practical." He successively undertook Yang Shijun, a master of tooth carving flowers, and Sun Sim, a master of good characters. Li Chunling, whose technology has matured, under the leadership of Sun Sen, produced a large-scale component tooth carving "Tangwang You Yue Palace" and "87 Immortals Figure" and independently created "Hua Die", "Yao Wan Yue" and "Si Fan". , "Magu Xianshou", "Infinite chess" and other tooth carving works.
However, Li Chunyun faintly feels that “study craft is like a throwing parabola. When I was just learning, I made progress every day and I quickly went to court. But at a certain stage, I couldn’t move. Down,†thought Li Chun’s thought of the “paintings†presented by the master of “Flower Yangâ€, and he understood the truth of the gold house.
So he went through ancient paintings, modern paintings and calligraphy, and the essence of various types of arts and crafts. He learned the “demeanism†of Bada Shanren’s Zhu Xi, learned “minus pen paintings†from the Song Dynasty painter Liang Kaixue, inked his paintings, and taught Zhao Meng’s “Zhao Shuo†and freehand brushwork. And repeatedly pondering Sheykh’s ancient method of “vividness†and “operating positionâ€. Gradually, Li Chunxi felt that compared with western realistic art, the essence of Chinese art lies in freehand brushwork. Literature, painting, and sculpture all seek artistic beauty. If the sculpture goes on a realistic road, the more it is crushed, the more it will become more masculine. In a glance, there will be no artistic conception.
Since the 90s of last century, Li Chunyu began to pursue the change of the art of tooth carving, trying to clear the mood of hibiscus.
"Flowers outside the wall, not in the wall"
Li Chunxi said that when he first began to form his own style, he was very upset. It is not possible to completely move out of the style of the ancients, and it is impossible to blindly cater to modern trends and seek modern aesthetics in simplicity. None of the leaders, colleagues, or friends can understand this shift, accusing him of "living less and less."
However, Li Chunbiao, who had acquainted himself with the road of art, never looked back. He buried his first book and looked at the people again. He was deeply self-examination. He must insist on respecting the history of art and not compromise with the market.
“The minimum standards for human aesthetics must be gaudy, that is to say, people are dazzled. An insider looking at the door and an outsider looking at the excitement are the reasons for this. In terms of works, over-promotion is often artistically weak. Works that just cater to market development. Can only be a commodity, can never become a work of art. For the ancient palace art tooth carving, no matter how changed, can not forget the origin of culture, only to maintain the dignity of the art in order to maintain the charm of art."
In those years of exploring artistic style, Li Chunxi used various learning opportunities to enrich himself. In 1983, he spent more than 30 years with the country’s more than 30 young people’s leaders in the art of Han and Tang Dynasty at Xi’an Northwest University. At that time, all the museums in Xi'an were open to them and wanted to see what the works were and what the warehouse managers put on. Li Chunyu personally touched many artifacts and pondered the charm of the ancients.
Learning and collecting winds strengthened Li Chunxi's heart to the transmission of classical charm, even though it was only a simple gesture and lacked applause. Until 2003, when Yang Boda, the then deputy dean of the Palace Museum, pointed to several works and said, “This is beautiful,†people began to recognize the classical qualities that Li Chun’s works distributed. However, even if the statues have been fragrant, the statue of the tooth carving is still not fragrant in the carving factory. Colleagues in the factory did not understand his work, but the tooth carving factory did not stop him from doing it.
"Business Location", "Han Xizai Night Banquet"
In 2000, the 51-year-old Li Chunxi looked forward to the longest 1.8 meters he had made in his life. 18 years ago, he was not qualified to receive such a rare material from the Tooth Sculpture Factory that he had carved a picture of Han Xizai's Banquet on the Night with a bone. In his heart, Li Chunling, who thought of using this tooth sculpture to express this classic painting, drew headlong into his thoughts on the work.
"Han Xizai Night Banquet" is a handed down masterpiece of Nan Tang artist Gu Kaizhong. The original painting is 335.5 centimeters long and 28.7 centimeters wide. The scrolls are straight and curved, the width of the picture is consistent, and the thickness of the tooth material is different. The painting is a plane and the sculpture is three-dimensional. These puzzles are placed in front of the creators. Not only that, this piece of material has been placed for 30 years, cracks everywhere, experts call it "laugh." Looking at many "laughs", Li Chunxiao could not laugh.
In the six months of designing the artwork, he wondered how to manage more than 10 characters repeatedly appearing in 46 different positions on the screen. He echoed the scenes of listening, watching dance, resting, blowing, and giving farewell. He first designed a scheme, but compared with the original, he found that the sculpture had a visual distortion. Looking at paintings, especially long scrolls, is not moving or painting. To see tooth carvings, it is at a point of view. The original work is represented on the ivory sculpture, and the dense relationship between the characters' scenes needs to be rearranged. The original characters must be gathered together properly. Li Chunqi adjusted the proportional relationship of the characters three times. The new program designs a picture from a single point of view. It does not destroy the structure of the original work. The scene seems to be concentrated and the size of the characters is coordinated.
In addition to the operation of the screen position, the portrayal of the hero Han Xizai is another major problem. Han Xizai is a minister of Southern Tang Dynasty. He came from the north and once had the ambition of recovering the Central Plains. However, he was displeased by the South factions and the suspicion of his late master Li Yong. He was unlucky and gloomy. He saw through the decadent politics of the South Tang and the prospects of the “state of affairsâ€. Although Li Ye also wanted to reuse him, Han finally refused to let him out, but he was self-protected by the singer. After learning that it was "more buzzing, specially for the dinner party, and the guests were noisy," Li Zhi was ordered to painter Gu Xizhong to peep into the house of Han Xijia. With memory, Gu Shuzhong seized upon Han Xizai’s complex inner world to show the scene of the banquet and the inner world of the characters.
Li Chunxi read through the pens of Gu Yuzhong and carved them into the inner world of the characters. In the “Listening Music†section, Han Xizai sat on the bed and looked at the deputy of the teaching hall to make Li Jiaming’s sister play the Huqin. It was the sound of the piano that evoked what he was thinking. It was not known, but people could feel that his melancholy, ambition, and the heavyness behind the ease...
After a two-day cold and heat stroke, the "Han Xizai Night Banquet" was finally completed, and in order to make the 30-year-old ** no longer crack, Li Chunxi is also not heating the house in the middle of the 9th cold winter. Freezing work.
In October 2002, an expert group composed of the China Light Industry Jewelry and Jewelry Center and the China Heritage Society identified the work as a treasure and gave such an assessment: “The author has developed a sense of smoothness in the texture of the toothpaste. , and promote national culture, using concise Ming-style carving techniques to express the character of the delicate delicacy, breaking the conventional model, ingenuity, ingenuity, pay attention to the overall effect and the screen charm, in the art, the technology has achieved unprecedented success ."
Ten years ago, the price of this 1.8-meter material was more than 300,000 yuan. In the hands of Li Chunyu, it was given a tooth carving work after the artistic life. It was valued by experts and reached a value of 6 million yuan. The 6 million yuan of that year was a huge asset for the Beijing Tooth Sculpture Factory that had been struggling for many years. However, neither Li Chunya nor the tooth carving factory chose to sell this work but kept it.
Today, this ** "Han Xizai night banquet map" is still in the collection of Beijing Ya carving factory.
3 processes, shoveling the most important chisel: "Chiseling" includes the selection and design of dental carvings. The ** itself is very expensive, so the designer is required to make full use of every inch of tooth material according to the length, thickness, and color design of the **.
Shovel live: The jargon in the carving of teeth is “scrapingâ€, which is carving, and it is the most important step in the production of **. Tooth carving emphasizes charm and superb shoveling can not only create a complete and delicate shape, but also show the demeanor and character of people and animals. In addition, because ** is prone to cracks during the preservation process, the craftsman must also use these cracks flexibly to integrate sculpture and materials.
Grinding: "Friction" is the last process of dental carving, using natural "grass" and "light leaves" to polish. Using the thin lines of these leaves themselves can restore the crystal luster of the ** itself without damaging the **. In addition, colored teeth carvings have to undergo “dyeingâ€. The previous stains used “stone†colors, which are natural pigments. Now some use chemical pigments.
The reporter's notes do not speak but he is in the hands of Master Li Chunxi's gesture. Like his teeth carving works, he is very concise and unassuming. He is one of the less eloquent speakers in the masters. The exchange with him is not so much an interview as it is because of frequent conversations with his own artistic theory.
In his heart, there are three beautiful teeth carving art. One is the material beauty, a good work, must reflect the texture beauty of raw materials in the details of changes, and even use "borrowing" techniques to avoid the defects of the material; the other is the content of the United States, no matter what theme, first of all can not Divorced from traditional culture, “vivid and lively†is not only the highest level of painting, but also applies to arts and crafts. The third is the beauty of knife and knife, which is the art of craftsmanship. The art and craftsmanship are inseparable from the author’s inner feelings and artistic cultivation. With his hands high, he learns the ancient people's quibbles and uses kung fu outside the craft to improve the art culture in order to nourish the craft.
At the work table, the reporter saw a series of “Nostalgic and Elegant Objects†books printed by the Shanghai Calligraphy and Painting Publishing House. Turning over a scroll of “Suzhou folding fansâ€, Li Chunyu could describe his perception of bamboo art.
At the age of 62, he was very satisfied with the state of his post-retirement freedom. While pondering new works, he passed on his experience to apprentices without reservation. In Li Chunxi's studio, the reporter saw master graduates and undergraduates who graduated from the Central Academy of Fine Arts. Every afternoon, Mr. Li arranges a one-hour theoretical study and teaches and watches the teaching CD-ROM alternately.
One of Qi Baishi's words: "It's too common to be vulgar, but not like to be a victim of the world," is what Li Chunxi and the students often talk about. The "likeness and dislikeness" is a feeling that can be expressed incomprehensibly, and can only be gradually realized and displayed during the years of sculpture.
Market Dynamics On December 9, 2010, Beijing Gutianyi Auction Company produced a picture of a statue of Guanyin in the Ming Dynasty, which created an auction record for the Asian region's sculptural works of art with astronomical price of 17.92 million yuan. It is understood that domestic prices are expected to be about 50 yuan / gram, that is, a kilo price of about 50,000 yuan.
In May 2011, He Shanda, vice president of the Zhejiang Collectors Association, once said that in recent years, due to the continued influx of some hot money into the art market, the value of calligraphy and painting, porcelain, jade, mahogany, and furniture has doubled. Has been at a low point, it is estimated that the next round will come to an end. The prices of large-scale carvings are drawing people's investment at an annual rate of 15%, and it is estimated that this range will continue to increase.
In 1968, the 19-year-old Li Chunxi presented to the apprentice Yang Shijun, who was known as the "Yang Yang," and was awarded the apprentice "paintings." "Six Laws" has become the artistic realm of Li Chunyu's ambition for a lifetime. At various stages of his life, he tried to incorporate the magic of painting into ** sculpture.
When you meditation on Li Chunyu's recent ** work, a song of the Song Dynasty floats into the eyes. The carving craftmanship goes to the simple and complex, and the lines are smooth. Li Chunxi tries hard to integrate modern aesthetic tastes into the classic style of Li Chunxi. He studied between “likeness and dislike†for 50 years, and finally presented the ancient method of “vivid and lively†to a Chiseling a shovel in a conscious artwork.
Concise and lively
In the studio on Baiziwan Road in Chaoyang District, Beijing, Li Chunxi showed a reporter a 15cm-high “small Buddha†tooth carving. The small Sakyamuni Buddha's right hand refers to the sky and the left index finger points to the ground. The flesh's arm is slightly curved and full of strength. It is accompanied by smiling eyes, open mouths, and a real small breast. It is a world of utmost arrogance. Children, out of a little body.
This statue of “Little Buddha†is a model of 108 small golden Buddhas customized by the China Mint Corporation for the 2012 Bathing Buddha Festival. In order to accurately represent the state of the Buddha, Li Chunxi and experts from the Fayuan Temple and Fayuan Temple in Beijing studied several times, overturned the first two finished products, and changed the details of the Buddha's French style, smiles, hands, eyebrows, and chest.
When the second buddha and the third finished buddha were all in front of one another, they could only use the “living†to describe the latter, and the carved “living†buddha was not complicated and seemed to be used only. A few lightweight shovels. It is somewhat regrettable that before the appearance of the Bathing Buddha Festival, reporters could not take pictures of this proud and proud little Shakyamuni.
Compared with the meticulously detailed and detailed **artworks seen in the past, Li Chunxi's works can be described as unusually concise. Many people who first touched can't help but queried “too simple, no work†and “what is this difficult?â€
His tooth carving is wonderful here. "Concise" rather than "simple", remove the extra modifications, leaving the "flavor", the taste of culture. “A good work must be look-resistant, and the more interesting it is, the more it is liked, and the more visible it is. Why does painting need to be left blank? Because it’s true and false. A work of art will tell you that it is the author’s inner feelings and cultural connotations. There is also a social background.†What Li Chunling hopes to achieve is to get rid of all the miscellaneous things that will affect perceptions, leaving a concise form that allows people to see lively charms.
"Learning craft like a parabolic of throwing stones"
The concise beauty of Li Chung's ivory sculpture was not something that was originally there, but was consciously formed in the past 20 years of accumulation and contemplation.
Li Chunyu, who was of the same age as the Republic, had misunderstood the middle school exam in the same year after graduating from the middle of 1964. He had learned that he had been working as an apprentice and worked in a Beijing ** carving factory after he had loved painting. At the age of 15, he was attached to the tooth carving.
During the apprenticeship period of three years, the tooth carving factory adopts the "Junior Two System" training method. Work 6 hours a day, 2 hours to paint. When he first started working, the apprentices first learned to use tools to grind the chisel and sharpen the knife, and after two weeks they began to familiarize themselves with the material and make small pictographic objects.
Two years after entering the factory apprenticeship, "**" began. Lee Chung-ho who is not "red" is politically unappreciated. "Without rebellion, we should do something practical." He successively undertook Yang Shijun, a master of tooth carving flowers, and Sun Sim, a master of good characters. Li Chunling, whose technology has matured, under the leadership of Sun Sen, produced a large-scale component tooth carving "Tangwang You Yue Palace" and "87 Immortals Figure" and independently created "Hua Die", "Yao Wan Yue" and "Si Fan". , "Magu Xianshou", "Infinite chess" and other tooth carving works.
However, Li Chunyun faintly feels that “study craft is like a throwing parabola. When I was just learning, I made progress every day and I quickly went to court. But at a certain stage, I couldn’t move. Down,†thought Li Chun’s thought of the “paintings†presented by the master of “Flower Yangâ€, and he understood the truth of the gold house.
So he went through ancient paintings, modern paintings and calligraphy, and the essence of various types of arts and crafts. He learned the “demeanism†of Bada Shanren’s Zhu Xi, learned “minus pen paintings†from the Song Dynasty painter Liang Kaixue, inked his paintings, and taught Zhao Meng’s “Zhao Shuo†and freehand brushwork. And repeatedly pondering Sheykh’s ancient method of “vividness†and “operating positionâ€. Gradually, Li Chunxi felt that compared with western realistic art, the essence of Chinese art lies in freehand brushwork. Literature, painting, and sculpture all seek artistic beauty. If the sculpture goes on a realistic road, the more it is crushed, the more it will become more masculine. In a glance, there will be no artistic conception.
Since the 90s of last century, Li Chunyu began to pursue the change of the art of tooth carving, trying to clear the mood of hibiscus.
"Flowers outside the wall, not in the wall"
Li Chunxi said that when he first began to form his own style, he was very upset. It is not possible to completely move out of the style of the ancients, and it is impossible to blindly cater to modern trends and seek modern aesthetics in simplicity. None of the leaders, colleagues, or friends can understand this shift, accusing him of "living less and less."
However, Li Chunbiao, who had acquainted himself with the road of art, never looked back. He buried his first book and looked at the people again. He was deeply self-examination. He must insist on respecting the history of art and not compromise with the market.
“The minimum standards for human aesthetics must be gaudy, that is to say, people are dazzled. An insider looking at the door and an outsider looking at the excitement are the reasons for this. In terms of works, over-promotion is often artistically weak. Works that just cater to market development. Can only be a commodity, can never become a work of art. For the ancient palace art tooth carving, no matter how changed, can not forget the origin of culture, only to maintain the dignity of the art in order to maintain the charm of art."
In those years of exploring artistic style, Li Chunxi used various learning opportunities to enrich himself. In 1983, he spent more than 30 years with the country’s more than 30 young people’s leaders in the art of Han and Tang Dynasty at Xi’an Northwest University. At that time, all the museums in Xi'an were open to them and wanted to see what the works were and what the warehouse managers put on. Li Chunyu personally touched many artifacts and pondered the charm of the ancients.
Learning and collecting winds strengthened Li Chunxi's heart to the transmission of classical charm, even though it was only a simple gesture and lacked applause. Until 2003, when Yang Boda, the then deputy dean of the Palace Museum, pointed to several works and said, “This is beautiful,†people began to recognize the classical qualities that Li Chun’s works distributed. However, even if the statues have been fragrant, the statue of the tooth carving is still not fragrant in the carving factory. Colleagues in the factory did not understand his work, but the tooth carving factory did not stop him from doing it.
"Business Location", "Han Xizai Night Banquet"
In 2000, the 51-year-old Li Chunxi looked forward to the longest 1.8 meters he had made in his life. 18 years ago, he was not qualified to receive such a rare material from the Tooth Sculpture Factory that he had carved a picture of Han Xizai's Banquet on the Night with a bone. In his heart, Li Chunling, who thought of using this tooth sculpture to express this classic painting, drew headlong into his thoughts on the work.
"Han Xizai Night Banquet" is a handed down masterpiece of Nan Tang artist Gu Kaizhong. The original painting is 335.5 centimeters long and 28.7 centimeters wide. The scrolls are straight and curved, the width of the picture is consistent, and the thickness of the tooth material is different. The painting is a plane and the sculpture is three-dimensional. These puzzles are placed in front of the creators. Not only that, this piece of material has been placed for 30 years, cracks everywhere, experts call it "laugh." Looking at many "laughs", Li Chunxiao could not laugh.
In the six months of designing the artwork, he wondered how to manage more than 10 characters repeatedly appearing in 46 different positions on the screen. He echoed the scenes of listening, watching dance, resting, blowing, and giving farewell. He first designed a scheme, but compared with the original, he found that the sculpture had a visual distortion. Looking at paintings, especially long scrolls, is not moving or painting. To see tooth carvings, it is at a point of view. The original work is represented on the ivory sculpture, and the dense relationship between the characters' scenes needs to be rearranged. The original characters must be gathered together properly. Li Chunqi adjusted the proportional relationship of the characters three times. The new program designs a picture from a single point of view. It does not destroy the structure of the original work. The scene seems to be concentrated and the size of the characters is coordinated.
In addition to the operation of the screen position, the portrayal of the hero Han Xizai is another major problem. Han Xizai is a minister of Southern Tang Dynasty. He came from the north and once had the ambition of recovering the Central Plains. However, he was displeased by the South factions and the suspicion of his late master Li Yong. He was unlucky and gloomy. He saw through the decadent politics of the South Tang and the prospects of the “state of affairsâ€. Although Li Ye also wanted to reuse him, Han finally refused to let him out, but he was self-protected by the singer. After learning that it was "more buzzing, specially for the dinner party, and the guests were noisy," Li Zhi was ordered to painter Gu Xizhong to peep into the house of Han Xijia. With memory, Gu Shuzhong seized upon Han Xizai’s complex inner world to show the scene of the banquet and the inner world of the characters.
Li Chunxi read through the pens of Gu Yuzhong and carved them into the inner world of the characters. In the “Listening Music†section, Han Xizai sat on the bed and looked at the deputy of the teaching hall to make Li Jiaming’s sister play the Huqin. It was the sound of the piano that evoked what he was thinking. It was not known, but people could feel that his melancholy, ambition, and the heavyness behind the ease...
After a two-day cold and heat stroke, the "Han Xizai Night Banquet" was finally completed, and in order to make the 30-year-old ** no longer crack, Li Chunxi is also not heating the house in the middle of the 9th cold winter. Freezing work.
In October 2002, an expert group composed of the China Light Industry Jewelry and Jewelry Center and the China Heritage Society identified the work as a treasure and gave such an assessment: “The author has developed a sense of smoothness in the texture of the toothpaste. , and promote national culture, using concise Ming-style carving techniques to express the character of the delicate delicacy, breaking the conventional model, ingenuity, ingenuity, pay attention to the overall effect and the screen charm, in the art, the technology has achieved unprecedented success ."
Ten years ago, the price of this 1.8-meter material was more than 300,000 yuan. In the hands of Li Chunyu, it was given a tooth carving work after the artistic life. It was valued by experts and reached a value of 6 million yuan. The 6 million yuan of that year was a huge asset for the Beijing Tooth Sculpture Factory that had been struggling for many years. However, neither Li Chunya nor the tooth carving factory chose to sell this work but kept it.
Today, this ** "Han Xizai night banquet map" is still in the collection of Beijing Ya carving factory.
3 processes, shoveling the most important chisel: "Chiseling" includes the selection and design of dental carvings. The ** itself is very expensive, so the designer is required to make full use of every inch of tooth material according to the length, thickness, and color design of the **.
Shovel live: The jargon in the carving of teeth is “scrapingâ€, which is carving, and it is the most important step in the production of **. Tooth carving emphasizes charm and superb shoveling can not only create a complete and delicate shape, but also show the demeanor and character of people and animals. In addition, because ** is prone to cracks during the preservation process, the craftsman must also use these cracks flexibly to integrate sculpture and materials.
Grinding: "Friction" is the last process of dental carving, using natural "grass" and "light leaves" to polish. Using the thin lines of these leaves themselves can restore the crystal luster of the ** itself without damaging the **. In addition, colored teeth carvings have to undergo “dyeingâ€. The previous stains used “stone†colors, which are natural pigments. Now some use chemical pigments.
The reporter's notes do not speak but he is in the hands of Master Li Chunxi's gesture. Like his teeth carving works, he is very concise and unassuming. He is one of the less eloquent speakers in the masters. The exchange with him is not so much an interview as it is because of frequent conversations with his own artistic theory.
In his heart, there are three beautiful teeth carving art. One is the material beauty, a good work, must reflect the texture beauty of raw materials in the details of changes, and even use "borrowing" techniques to avoid the defects of the material; the other is the content of the United States, no matter what theme, first of all can not Divorced from traditional culture, “vivid and lively†is not only the highest level of painting, but also applies to arts and crafts. The third is the beauty of knife and knife, which is the art of craftsmanship. The art and craftsmanship are inseparable from the author’s inner feelings and artistic cultivation. With his hands high, he learns the ancient people's quibbles and uses kung fu outside the craft to improve the art culture in order to nourish the craft.
At the work table, the reporter saw a series of “Nostalgic and Elegant Objects†books printed by the Shanghai Calligraphy and Painting Publishing House. Turning over a scroll of “Suzhou folding fansâ€, Li Chunyu could describe his perception of bamboo art.
At the age of 62, he was very satisfied with the state of his post-retirement freedom. While pondering new works, he passed on his experience to apprentices without reservation. In Li Chunxi's studio, the reporter saw master graduates and undergraduates who graduated from the Central Academy of Fine Arts. Every afternoon, Mr. Li arranges a one-hour theoretical study and teaches and watches the teaching CD-ROM alternately.
One of Qi Baishi's words: "It's too common to be vulgar, but not like to be a victim of the world," is what Li Chunxi and the students often talk about. The "likeness and dislikeness" is a feeling that can be expressed incomprehensibly, and can only be gradually realized and displayed during the years of sculpture.
Market Dynamics On December 9, 2010, Beijing Gutianyi Auction Company produced a picture of a statue of Guanyin in the Ming Dynasty, which created an auction record for the Asian region's sculptural works of art with astronomical price of 17.92 million yuan. It is understood that domestic prices are expected to be about 50 yuan / gram, that is, a kilo price of about 50,000 yuan.
In May 2011, He Shanda, vice president of the Zhejiang Collectors Association, once said that in recent years, due to the continued influx of some hot money into the art market, the value of calligraphy and painting, porcelain, jade, mahogany, and furniture has doubled. Has been at a low point, it is estimated that the next round will come to an end. The prices of large-scale carvings are drawing people's investment at an annual rate of 15%, and it is estimated that this range will continue to increase.
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