Kong Xiangjun: Create the mind, carve the time

Pushing the door, the aroma of the wood was in the nasal cavity. The wooden bookcases around the wall are filled with countless books, calligraphy and painting, and various non -heritage crafts, occupying most of the vision. The carved printing products that are not yet dry are spread on the long table, exuding ink and ancient charm. Walking into this Guanguan Academy hidden deep in Shijiu Old Street is like exploring a mine in art.

The owner of the academy, Kong Xiangjun, was leaning in front of the case, facing a carved wooden board. As a non -genetic inheritor in the Rizhao carving, Kong Xiangjun is obsessed with this folk art called the "living fossil", which is known as the "living fossil". In more than 30 years, he continuously explores the "Tao" and the "realm" of the cultural "realm" on a wooden board. Essence

Brushing ink, covering paper, brushing ... For him, these actions that are already familiar to become physical inertia are the traces of years and memory. Beside, the row of hollow pane isolated the hustle and bustle of the outside, and stored the quiet time in this poetic world.

Following the guidance of the old time

In the memories of Kong Xiangjun, the origin and heart of the carving printing are from the ancient family genealogy of the family.

He is the 75th generation of Confucius and descendants of Lucheng, the tenth of the Confucius. When I was young, I heard that my father told that the bookmark was made by carving. "The blood transmitted by the old ancestors was passed on and remembered by generations through this timeless way, which is extraordinarily sacred and novel to me." Kong Xiangjun slowly told his childhood memories.

The carving printing was invented in the Sui and Tang dynasties, and now it has a history of more than 1,400 years. It is known in the history of printing. It is a type of printing process that carves text and images on a flat wooden board, then brushes the ink, covered with paper, and brushed and transferred to the paper with a brush.

Kong Xiangjun has studied carving and stone carving skills with his family since he was a child. He has also been engaged in the craftsmanship of craftsmen, carpenters, stonemiths, and blacksmiths in the family. He has a natural love for folk art.

When you go to elementary school, you can use bamboo as a flute. The calligraphy competitions in middle school often won the first prize. He also followed the folk old artist Li Yongrun to learn monument sculpture. Until 1994, in order to study systematically, he went to Shandong Academy of Art for study by a "bun".

"The professional knowledge sent by the college opened the door of the new world for me, so that I was able to integrate modern techniques into traditional crafts." Kong Xiangjun recalled that after that, he went to Yangzhou and worshiped the carved version of the national intangible cultural heritage inheritor. Chen Yishi was a teacher, so that the skills of the ancestors were essentially sublimated.

After many years of search, he firmly mastered the technical methods of woodwork skills, stone carvings, and architectural landscapes, and deeply felt the love of non -legacy and aesthetic art in the day and night of countless ink fragrances day and night. Essence He began to clearly realize that the carving printing should be printed as a lifetime.

In 2009, Kong Xiangjun returned to Rizhao. Under the guidance of the teacher, it took several years to integrate the "Grand View Academy" in terms of cultural media, garden design, and woodcarving production. In addition to the main attack carving printing, it will also collect books, calligraphy and painting. Cultural elements such as carving, tea Zen, paper -cutting, flower arrangement, Wenwen, etc., making this small courtyard truly a cultural "big view".

Callery, carving time

In the tea room on the second floor of the academy, Kong Xiangjun showed several blades -shaped tray. On the various "leaves" carved from black walnuts, "ginkgo" and "maple leaves", the leaves carved by carved knives.

Kong Xiangjun named it "Ye Yu", which meant that the texture of the leaves was delicate and silky as feathers. This year, Ye Yu's series of woodcarving works were selected as "Shandong Hand -made · Preferred Rizhao", and was also rated as the "Tiantong Kaizi · Qilu ingenuity" in Shandong Province, the most representative non -heritage product, and became his "Tibetan Scriptures", " Another masterpiece after the Confucius statue "" Mao Zedong Poetry Series "and other works.

"The plants that can be seen everywhere are sublimated by art, and inspiration comes from the love and observation of nature." As an art practitioner, those subtle beauty that is not noticed in life on weekdays, in Kong Xiangjun's eyes , Bob.

I usually like to climb mountains, and every time I travel is a dialogue with nature. "Sometimes we pick up the stones on the mountain to make micro -landscapes. Especially when construction in rural areas, those small stones and small woods are priceless for me."

In recent years, in addition to the inheritance and development of carving printing skills, he has also established a special studio and factory building for home decoration, architectural design, cultural and creative customization, etc., so that traditional culture has gradually integrated into modern life words with industrialization methods. territory.

In Kong Xiangjun's view, the inheritance of folk art should not only rely on the feelings of the whole cavity, but use modern craftsmanship and mechanization to reduce artificial and production costs while retaining the artistic texture to ensure the widespread and universality of circulation. "Big to architectural components, furniture, small to frame, cup support, we all have our own design and processing team."

From Shaanxi Shenmu, Yinan Zhujialin, Laiwu lying Cloud Shop, to Rizhao Phoenix Toro, Egret Bay Wind Window, ... in the home and breakfast and aesthetic space across the country, there are custom products provided by Kong Xiangjun. He also used the old scriptures as a sample to produce cultural and creative products such as the "Confucius Holy Sites", handwriting, and letters, which are popular in the market.

He wanted to leave the beauty of natural grass and trees to explore a culture on wood. "We are designing a new" Ye Yu "series of works. We want to use rotten wood to carve the theme of the dead leaves and use a variety of wood to reshape a" big tree "belonging to Rizhao."

On the long table of the lobby, the cinnabar red ink on the carved wooden board has been dry. With a strong color, a person of ancient people in ancient times gradually became clear.

This is one of Kong Xiangjun's recently produced by the "Non -Heritage '" Integrity' "series of works. With the help of Rizhao historical figures and other themes, combines with contemporary clean government culture to allow people to enter the spiritual world of the ancients and pursue the breeze.

"Doing hand -made is the most fundamental thing is to deeply dig in the local culture, so that more people can feel the exquisiteness of folk art, the vitality of inheritance and innovation, and the rich cultural connotation." For many years, Kong Xiangjun has been deeply cultivated in the territory of traditional culture, focusing on focusing on the territory of traditional culture. Integrate Qilu culture, Confucian culture, sun culture, Dongyi culture, Longshan culture, Yao Wang culture, etc. into a piece of work. The "Confucius Statue" series of works praised by the industry is one of them.

In Kong Xiangjun's studio, the plaques of different sizes are covered with tables and cabinets, and the most noticeable of them is the signboards such as "Nagitarian Society of Social Class Social Class Association" and "Practical Innovation Base". As the president of the non -genetic inheritance branch, Kong Xiangjun knew that his responsibility was important.

"After the rotation of many folk arts, after the era of the times, it has lost the functionality needed for actual life. Without the space and value of growth, they can only be withered." In the face of the loss of many old craftsmanship, Kong Xiangjun's opinion is to have to be the need Innovation inheritance.

After the establishment of Daguan Academy, he played his own advantages and often assisted nearby schools to organize cultural activities and invite school teachers and students to experience the wonderful taste of traditional culture. Later, it has successively became the out -of -school quality education bases of several schools.

In order to allow traditional culture to take root in more people's hearts, in 2016, Kong Xiangjun established the Rizhao Grand Vocational Training School, founded Shandong Daguan Creative Design Decoration Co., Ltd. He also selected the students who love to get started in the people who love traditional skills. At present, 32 apprentices have been collected.

The pace of exploration is not limited to this. In recent years, he tried to deeply penetrate this irrigation into a wider fertile soil. In addition to the usual cultural courses, he began to integrate into urban cultural publicity and promotion and non -genetic inheritance, and frequently participated in cultural activities such as "non -legacy" and "non -legacy of Wanjia" organized by the Municipal Culture and Tourism Bureau. "Through innovative inheritance, pull the long cultural memory back to contemporary life, so that young people can understand the traditional Chinese culture development system."

After a lifetime with wood, for Kong Xiangjun, the carving printing that was inherited from the ancestors was a belief that "not to say why, but just love to love".

After telling the story, he returned to the case, brushing ink, printing, and brushing the ground, one after another. Many days and nights, he healed himself with ink ink, and healed a lot of artistic souls. (Reporter Li Xiaomeng/Wen Li Bing Chen is a friend/photography)

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