Non -heritage of the character | Zheng Fangyang: Shen Ningdao spikes high, interpret "knife carving" life with the spirit of craftsmen!

Zheng Fangyang was born in a folk art family in Queen Heng Village, Liu Town, Laiqing City in 1972. Chinese Master of Chinese Arts and Crafts, Master of Chinese Root Arts, Master of International Arts and Crafts, Zhejiang Folk Artist, Outstanding Folk Literature and Art Talents in Zhejiang Province, Master of Rural Youth Craftsman in the country, Master Woodcarving Art Master loved by Chinese collectors in 2006, national first level Artist, non -heritage "Yueqing Weeping Wood Carving" Wenzhou -level representative inheritance.

National Intangible Cultural Heritage -Billing Wood Carving

The history of Chinese woodcarving can be divided into three periods: morning, middle, and evening. In the early days, it was the Spring and Autumn Period to the end of the Eastern Han Dynasty. It was common to produce natives and wooden animal figurines. In architecture, woodcarving has also been applied. According to archeological discovery, as early as the Western Han Dynasty, the poplars had been used to make exquisite comb. The tomb of the Western Han Dynasty in the Western Han Dynasty in Changsha, Hunan, and the tomb of Western Hanzhi Tomb in Huoshan County, Anhui Province. During the Tang and Song dynasties, the tough and fine poplar wood was also used to engrave fine text and illustrations in printing. In the Song Dynasty, small wood carvings were more popular, and high -quality wood such as rosewood and poplar wood was often used to engrave small ornaments. By the late Yuan Dynasty, the craftsmanship skills of the poplar and wood were relatively mature, and it began to become an independent crafts to stand out for people to display it. The Yuan Dynasty yuki carving "Tieguai Li" collected by the Palace Museum of Beijing is from the Yuan Dynasty to the second year (1342). It has been more than 670 years ago. In the late Ming and Qing dynasties to the Republic of China, it is a traditional woodcarving, and also includes the heyday of the poplar carvings. During this period, the application of Yangwu woodcarvings is very wide, from small sculptures to Buddhist beads, seals, furniture, and daily necessities. From the late Qing Dynasty to the Republic of China, it was a period of mature and prosperous Chinese poplar woodcarving in China. In particular, the popcut characters created by Zhu Ziyun, Wenzhou, Zhejiang have won many domestic and foreign awards at home and abroad.

Traditional art forms have fully demonstrated their unique and classical and generous characteristics because of the polishing of time and the precipitation of the years. The image is lifelike, the clothing and headgear of the characters can be carefully portrayed, and it can better reflect the technical level of the sculptor. In addition, the iconic techniques formed in the development process of different types of yang woodcarvings are also different. Taking the Buddha statue as an example, the carving of the Buddha statue is particularly particular. Flowers and sitting and sitting are appropriately selected according to their image and connotation. The final carved works are very fitted from Shen Yun to the manner. As a folk art, the poplar carvings have very distinctive regions and humanistic characteristics. Not only their exquisite sculpture methods make people shoot, but to Tochigi created in continuous inheritance and development, it has interpreted unique artistic charm to make them have it to have High collection value.

Hometown of Chinese Folk Art -Yuanyang Village, Yuanyang Town

Houheng Village is located in the southeast of Liu City. It is close to the central avenue. The village is 500 households and a total population of 1670. It is one of the cultural characteristic villages in Liu Town. There are 4 masters of Zhejiang Provincial Arts and Crafts, 4 master of arts and crafts in Wenzhou, and 16 high -level craftsmen. The main arts and crafts industries are yuki wood carvings, ivory carvings, stone carvings, root carvings, etc. After April 1998, the original Xiangyang Town, which was the leader of Hengcun, was named "Hometown of Folk Art in Zhejiang Province" by the Zhejiang Provincial Department of Culture. "Hometown of Chinese Folk Culture and Art" re -evaluation.

The Xiangyang District of Liushi has always been a place where Leqing folk arts and crafts are concentrated. It has begun to show its emergence during the Song and Yuan dynasties. Rich varieties, exquisite skills, can be skillful. In the 1960s, there were more than 80 people in the arts and crafts of Hou Hengcun, and more than 100 people in the mid -1970s. After the reform and opening up in the early 1980s, the arts and crafts of Hou Hengcun reached the heyday, and 80%of the village was engaged in the design, production, and sales of one -stop services for arts and crafts. Now, 30%of the laborers in Houheng Village are engaged in arts and crafts production. The backbone strength of them is mostly from the original Yueqing Huang Yang Yuanyuan Paper Paper Production Cooperative, that is, the artist who returned to the village after the disbanding of the Leqing Arts and Crafts Factory. Most of the products were sold to Southeast Asia to Southeast Asia. The annual output value of more than 30 million yuan in the country and Hong Kong and Macao areas.

Inherit the family practice, learn art from childhood

Zheng Fangyang was born in Houheng Village, which is featuring Yueqing Yangwu. His father, Zheng Shengcun, is a famous folk sculpture. Zheng Fangyang followed his father and liked to play with the mud and like to take the yang woodcarvings semi -finished products. "When I was very young, I came into contact with the yellow poplar wood sculpture." Because I liked the knife and carved on the wood, I left many knife marks on the young Zheng Fangyang's hand. "This scar was left at the age of 10." Zheng Zheng Fang Yang pointed at a scar on his left hand.

After graduating from junior high school at the age of 16, Zheng Fangyang officially learned his arts with his father. At the end of the second year of the beginner, he found that his copy was very different from his father's work, and he was very wondering. He kept looking for the gap. Finally, he found that it was mainly on the face of the character. So he began to ponder the carving of the facial expression, compared his father's works, compared with the works of the master and brothers, and the works of the predecessors, and also found many sculptures about the traditional themes in the sculpture books. From morning to noon to night, I have been looking at the west overwhelming. The brother told him not to take care of him. For a long time, he paid special attention to the expression of the face of the sculpture work and the expression of the face of the sculpture work. Kung Fu is worthy of care. A work that he completed independently when he was 18 years old was participated in the Canton Fair as a sample and was loved by the merchants. "At the Canton Fair, a client customized more than 30 sets of my woodcarving works at once, and I was very excited." Zheng Fangyang said that it was a big order, and it has since strengthened his carving road. At the age of 22, his work "Five Son Opera Maitreya" won the third prize for the first time in Zhejiang Province's township enterprises excellent crafts. Since then, Zheng Fangyang has won more and more awards in various exhibitions and competitions. "Painting Dragon Federation" won the new star gold award of the Zhejiang Genmei Art Exhibition, "Go to the East of the East" won the Silver Award of the Sixth Gentelling Art Works Exhibition of China, and "Songs of Spring Breeze" won the 2nd Chinese craft The masterpiece of the master's works and the excellent work award of the Arts and Crafts Expo, "Shenwei" won the gold award of the "Liu Kaiqu Genyi Award" for the 15th Genomei Stone Art Expo in China, and so on. "There are more than 80 gold and silver awards above the provincial level." In the exhibition hall, it was filled with works created by Zheng Fangyang for decades. One column was filled with heavy certificates and trophy. The trophy witnessed his growth experience. Fate with the poplar carvings of the poplar

If Zheng Fangyang enters the field of Yueqing's Yangwu woodcarving is an inevitable, then he is associated with the root carving is a kind of "encounter" and "tacit understanding". In the early 1990s, the uncle Zheng Shengning, who was engaged in woodcarving research in Hangzhou, brought a roots to Zheng Fangyang, which made Zheng Fangyang's eyes bright. He moved the roots of the Yangshu of the firewood to his studio, and often looked at it with a look at it, looking for the best expression.

On one occasion, Zheng Fangyang purchased a poplar root. The root of the tree was uneven, uneven, and cracks on the upper part. When it comes to a period of time, although it has been detailed for several times, I still have not found the feeling. I can't move the knife. After a long time, I will get this material again. It is a floating sleeve, and the sleeves are below a long and detailed place. It is like the ancient robe was blown by the river wind. At this point, he was suddenly cheerful. Zheng Fangyang retained the middle and lower part of the root of the poplar trees, without any manual carving, and only carved Su Weng's face on the top of the tree roots. The gravitational rods holding a large method of carving are carved with a large -scale method, as the transition of the head and the body to link it up and down, and it is integrated. The work entitled "Dajiang East" appeared at the exhibition of the 6th Genmei Art Works of China in 1997, and was well received by the audience, and won the "Liu Kaiqu Genyi Award" silver award. Since then, he often brought people abandoned roots as treasures. "This is the Royn Gen root. At that time, throwing it on a friend’s flower garden, I was about to throw it away as a waste. When I saw it, I liked it. . "After Zheng Fangyang got the root of the tree, he repeatedly studied and looked at the root shape of the tree. Isn't it just an old man who was thinking about his texture and wooden growth posture? So a work of "Dongpo Xingyin" was released.

Art comes from thinking

"Every root art work requires a long thinking process. The uniqueness of the root carving art is that there is a root material first, and then there are ideas. Because the root has no root roots, the material is not uniform, so every idea is novel. Well, not copy, every piece of work is unique. "Zheng Fangyang said that each of the roots of the roots need to be conceived for a long time, and it is often a common thing for one year or half a year.

On one occasion, a strange shape of the poplar trees, the surface of the tree root is cracked, and the color is different from the rest, forming a tree tumor that resembles the faucet. Zheng Fangyang has always thought about how to express the root of this tree. Once inspired, isn't this a ready -made "Drawing Dragon Federation" work? Intersection As a result, when he conceived the layout, he roughly carved his head, the beard sagging, and his head was slightly closer to the head of the dragon. If there was a sense of the apex of the dragon, he conveyed the stem of the painter and the work. He also carved his right hand that clenched his brush tightly, his fingers and bones were faintly visible, and he looked vigorous and powerful. "Painting the Dragon" later won the Root Carving Renxing Gold Award in Zhejiang Genmei Art Exhibition. With the increasing improvement of skills, Zheng Fangyang gradually was intoxicated in the creation of root carving art. Compared with other art carvings, the uniqueness of root carving art is that there are root materials first and then conceived. Therefore, each of the roots is unique and cannot be copied. The strange materials can be encountered, but art is diligent. Zheng Fangyang's "Ji Gong", "Lin Zexu", "Magnolia's Army", "The Spring Wind" and other works have won special prizes and gold awards in national exhibitions, and have won many design patent certificates. The unique skill allowed him to be invited to various exchanges and exhibitions to make a demonstration. He was also rated as "the most popular inheritor of the audience". In the past 30 years in Yueqing Yangwu woodcarving, Zheng Fangyang has created thousands of works, forming his own unique creative style. His works are collected by the Zhejiang Literary Federation, the Chinese National Art Museum, and the Chinese Woodcarving Art Museum.

"It is uncomfortable to not sculpting a day, and it is uncomfortable for three days." Whenever he occasionally generates a good idea, he often gets up in the middle of the night. "Qi materials can be encountered, but art is diligent." Zheng Fangyang believes that he wants to learn a lot in the older generation of artists. In recent years, while practicing hard carving, he has continued to learn and continuously enrich himself. He went to the art college to study theoretical knowledge, study abroad, and occasionally write some woodcarvings related papers. Professional journals such as Arts and Crafts "Crafts and Crafts" and "Chinese Wood Carvings" are adopted. He believes that constantly enriching himself in order to maintain long -term creative enthusiasm.

Full honor

In 1994, "Douyu" ’94 Qingdao's first Chinese carving art (festival) Grand Prix Outstanding Works Award.

In 1994, "Zhong Kui" won the excellent award of the boutique exhibition of the Root Carving Character Restaurant in Zhejiang Province.

In 1996, "Drawing the Dragon" won the Root Carving Renxing Gold Award in Zhejiang Genmei Art Exhibition.

In 1997, "Dajiang East" won the Silver Award of the Sixth Chinese Arts Art Exhibition "Liu Kaiqu Genyi Award".

In 1999, "Nezha Disted Sea" won the Silver Award of the Zhejiang Genyi Works Exhibition; and was selected to participate in the Zhejiang Star Visual Art Exhibition hosted by the Zhejiang Provincial Department of Culture.

In 1999, "Good Year" won the gold award of the Zhejiang Chinese Folk Art Exhibition.

In 2001, "Ji Gong ①" won the 15th anniversary celebration of the Zhejiang Genmei Arts and Crafts Society and the Grand Exhibition Gold Award.

In 2001, "The Song of Spring Breeze" won the second Chinese arts and crafts master's work and the excellent work award of the Arts and Crafts Expo.

In 2003, "Li Shizhen" won the silver award of the 3rd (2003 · Hangzhou) International Folk Handicraft Exhibition.

In 2004, "Sea Wind" was named the second Zhejiang arts and crafts excellent work.

In 2004, "Huai Su Shu Bana" was named the "Liu Kaiqu Geee Award" Excellent Award at the Ninth Genshi Art Expo in China.

In 2005, the "Harvest" was awarded the excellent works of Tiantong at the Zhejiang National Folk Art Resources Census Census Protection and the Protection of the National Folk Art Resources Resources and the first Zhejiang National Folk Arts and Crafts Expo.

In 2006, "Vientiane Update" won the Outstanding Works Award of the 7th Chinese Arts and Crafts Master and Arts and Crafts Expo at the 7th Chinese Arts and Crafts Master's Works and Arts and Crafts Expo at the Hangzhou World Leisure Expo.

In 2007, "Funny Pig" won the "Second China (Putian) Straits Craft Expo" Excellent Award for Excellent Award.

In 2008, "Magnolia's Army" won the gold award of the "2008 China Handicraft Expo Expo" Excellent Works.

In 2008, "Shuo" won the bronze award of the "2008 China Handicraft Expo Expo" Excellent Works Competition.

In 2008, "Dajiang East" won the excellent award of China Arts and Crafts Awards at the 9th Chinese Arts and Crafts Master's Works and International Art Expo.

In 2009, "All the Wind" won the "Third Zhejiang Arts and Crafts Awards" Excellent Award.

In 2009, "Good Year" won the outstanding award of the Chinese Arts and Crafts Awards at the 10th Chinese Arts and Crafts Master's Works and Arts and Crafts Expo.

In 2010, "Thousands of Miles" won the "Sky Craft Garden Cup" gold award at the second China · Zhejiang Arts and Crafts Expo.

In 2010, "Summer" won the bronze award in the evaluation of the outstanding works of the Chinese Arts and Crafts "Hundred Flowers Awards" in 2010.

In 2011, "Dunhuang Feitian" participated in the series of traditional techniques and traditional art carving plastic works selection activities in Zhejiang Province's intangible cultural heritage protection list.

In 2012, the root carving "Shenwu" was identified by the Academic Evaluation Committee of the Chinese Genmei Arts Society as a special boutique at the "Fourteen Gen Arts Expo in China".In 2013, "Good Year" won the silver award of the first Zhejiang Crafts and Crafts Biennale.

In 2013, "Shenwei" won the gold medal of the "Liu Kaiqu Genyi Award" at the 15th Genyi Shi Art Expo in China.

Mr. Zheng Fangyang's work display:

Material provider: Xi'an Intangible Cultural Heritage Protection Association

Author: Time Memory

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