Lingnan expressed "Golden Muhui -Lingnan Gold Lacquer Wood Carving and Dicing the Golden Painting Painting Boutique Exhibition" with the spirit of national happiness and craftsmen.

On May 18th, the "Golden Muhui -Lingnan Golden Painted Wood Carving and Drawing Gold Clawling Exhibition" jointly organized by the Shenzhen Museum and the Guangdong Folk Craft Museum opened at the History Museum of History of the Shenzhen Museum. About 2000 square meters of exhibition halls exhibited a total of 145 exhibits (sets), layout according to the category of God, people, and art. part. The exhibition was included in Shenzhen Shenzhen's Shenzhen City Deepening Strategic Cooperation Project, and was selected as the "2022 Theme Exhibition of the Core Value of Socialism in Guangdong Province".

The exhibition will last until October 8.

The audience visited the "Panyu Shenlou" of Guangzhou Wood Carving

The three major folk cultural relics of Lingnan

Lingnan gold lacquer wood carvings and gold lacquer paintings are the treasures of Chinese culture. They have strong regional cultural characteristics and occupy an important position in Lingnan culture. "Golden Muhui -Lingnan Gold Lacquer Wood Carving and Drawing Gold Classed Exhibition" brought together the three major people's departments of Lingnan -Guangfu, Chaoshan, Hakka's gold lacquer wood carvings and drawing gold lacquer paintings. The "Panyu Shenlou" of the Qing Dynasty in the Guangdong Folk Craft Museum is a national treasure. Chaozhou gold lacquer woodcarving and drawing gold lacquer paintings are also exquisite. As far as its artistic style is concerned, of the three major people's departments in Lingnan, the Guangfu area is magnificent, solemn and elegant, and the composition pays attention to symmetry and the sense of rhythm. The layers of carving are all overlooking the technique of craftsmanship; the Hakka area is affected by Chaozhou, the knife method has turned simplicity, the style is rough and simple, and the ancient meaning is characterized by highlighting the main storyline.

The Republic of the Republic of China Chaozhou Gold Lacquer Wood Carving Cog (Collection of Guangdong Folk Craft Museum)

The first part of the "God in this building" shows this magnificent and large gold lacquer woodcarving big building in an independent area. The full name of the Shenlou Qing Dynasty "The first year of Xuantong" Panyu Shilou Shenlou woodcarving, referred to as "Panyu Shenlou", was produced in the first year of Xuan Tong (1909) in the Qing Dynasty (1909). Craft Museum) is a precious physical object that reflects the annual "Hong Sheng King's Out of the Conference" of the Eighteenth Township of Panyu Gangwei in the Qing Dynasty. It has a history of more than 100 years and has high cultural relics, historical and artistic value. With the efforts of several generations of cultural relics, the "Panyu Shenlou" has been well preserved. From the difficult preservation of the past to the full protection of the use of science and technology and informatization, it has condensed the original intention of several generations of cultural relics to inherit cultural relics and "let cultural relics live", and also witnessed the vigorous development of my country's cultural and exploration cause.

Qingchaozhou gold lacquer wood carving character story pattern diamond box (Guangdong Folk Craft Museum Collection)

"Panyu Shenlou" is a tenon -and -mortise structure, a palace -like layout, consisting of about 160 wooden components. After the assembly, it is about 5.7 meters deep, about 5 meters on the left and right, about 5 meters high, and about 26 square meters at the bottom. The volume is 110 cubic meters. Its volume, device type, and craftsmanship are unique in the current known Qing Dynasty Lingnan gold lacquer wood carving cultural relics.

Ancient architect Zhang Yibing said that the positive facade of the "Panyu Shenlou" is the gate of imitation official archway. From the perspective of decomposition elements, it is Guangfu, Chaozhou, Hakka, official -style, and western "five republics". During the Xuantong period, Guangfu architecture decoration has achieved "five republics", so the overall style of "Panyu Shenlou" is a typical Guangfu style.

The Republic of China Chaozhou Gold Lacquer Condor Entrusted Wang Ling Tu Tu Board (Collection of Guangdong Folk Craft Museum)

The second part of the "Shenzu Support" is divided into two sections: "shrine and temple worship" and "welcoming the gods", showing the sacrifice ritual. Ancestral worship is one of the oldest, most extensive, and most influential folk beliefs in China. The people of Lingnan attach great importance to traditions, the customs of worshiping ancestors are prevalent, the sacrifice culture is developed, and folk religious activities are also very active. When worshiping the ancestors and worshiping the gods, it is commonly used to decorate the exquisite decoration of gold lacquer and paint painting technology to create a scene of cautiously chasing far away, solemn atmosphere, and the prosperity of the clan, reflecting the psychology of the people's respect for the ancestors and entertainment.

Chaozhou Golden Painting Tongciao Character Tu Board (Collection of Guangdong Folk Craft Museum)

The third part of the "rich world" is "carved beams and painting buildings" and "home furnishings", showing architectural decoration and home supplies. Gold lacquer woodcarving and drawing gold lacquer paint on the lacquer and wood, highlighting the rich and gorgeous. Lingnan is offshore, the Guangdong people are recreated, and the prosperity of trade has brought a lot of wealth. In addition to practical functions, people have a higher pursuit of living space and daily necessities. In the Qing Dynasty and the Republic of China, the wealthy class temples, ancestral temples, and a mansion of luxury homes became windy, forming exquisite, dignified and luxurious woodcarvan decorative styles. Through a large number of luxurious and complicated decorations to beautify life, show elegance and show family wealth.

"Jilian Hui" lacquer wood plaque (Shenzhen Museum Collection)

The fourth part of "Beautiful Display" is "Lingnan gold lacquer woodcarving, brief history of the development of gold lacquer painting technology", "wood carving technique", "gold lacquer wood carving production process", "gold lacquer wood carving technology inheritance", "gold lacquer wood carving theme" Show its craftsmanship and subject matter. Gold lacquer wood carving and gold lacquer paintings are widely used in the Lingnan area, with a large number of physical objects that exist alone, but also combined with each other. The two craftsmanship has a long history, exquisite techniques, complex processes, and orderly inheritance. Most of the themes are taken from the people, and their selection of elements, combination methods, and implications have experienced the accumulation of craftsmen, and have formed the rules and rules of conventions.

The concentration of exhibits reflects the exhibited exhibited by the people's happiness of the people of Lingnan. Most of the exhibits exhibited this time are used by the people's daily see. The decorative patterns and patterns not only reflect the unique appearance of Lingnan folk beliefs, folk customs, folk crafts, and national aesthetics. The eternal theme of yearning for a better life shows the harmony and unity of human, god, ancestors, society, and nature, shows the spiritual quality of the Chinese nation's positive and optimistic and sunny, and promotes the long -distance and profound Chinese culture.

The Republic of China Golden Labor Condor Fulu Shou Samsung Tu (Hakka style) (Hakka style) (Shenzhen Museum Collection)

Gold lacquer wood carvings and gold lacquer paintings are all -encompassing. It is a concentration of national aesthetics, which reflects the people's views, ethics, morals, and life outlooks, which contain their understanding of nature, society and self. The exhibition divides the subject matter as: mascot elephants -personality, ethical education -model -based human society, fairy world -ideal supernatural world, symbolic system -symbolic decorative pattern. The elements and combination methods used in themes are mostly diagram and stylized, reflecting the ideal society and a happy life that Lingnan people yearn for.

In the Republic of China Golden Labor Condor Kai Crash Deer Tongchun Bed (Hakka Style) (Shenzhen Museum Collection)

Taking the most popular fairy theme "Fulu Shou Samsung" as an example, it represents the sum of the happiness of the world. For another example, "Guo Ziyi Wishes Life" is a widely popular character story. Guo Ziyi was the veteran of the Four Dynasties of the Tang Dynasty. Rong Ma's life and repeatedly built magical achievements. Essence The story of Guo Ziyi represents the people's pursuit of building merit, Guangzong Yaozu, longevity and wealth, children's prosperity, and enjoying Tianlun.

For another example, the Golden Lacqueron carving the light crane deer in the same spring map is the exquisite component of the Hakka shelf bed, and its decorative elements reflect the people's view of happiness. Double -layer carving, begonia pattern and ancient money patterns are ground; the middle of the begonia shaped, carved pine, orchids, deer, cranes, etc., the meaning of the crane deer in the same spring, pine cranes are prolonged; The peony is the flower of wealth, the combination of cranes, deer, and ribbons, with the meaning of Fulushou; the carved Lin Tuyu books on both sides of the bed, which means that the nobles are born early; The secular happiness pursued by the people can almost find it on it.

The inheritance of the great country craftsman in Lingnan

The woodcarving products of the theme of the "shrimp crab basket" are the representative of gold lacquer and woodcarving. It is not only the most local characteristic, but also a concentrated manifestation of the superb skills of craftsmen. This theme combines round carving and through -carving techniques. Multi -level hollow is dense but not chaotic, which is breathtaking. It expresses the love of the Chaoshan people for the Jianghai Aquarius, and the desire to pray for a happy life. "Shrimp Crab Basket" first appeared in the late Qing Dynasty and was created by Huang Kaixian. Huang Kaixian, the people of the Qing Dynasty, the year of birth and death is unknown. Its woodcarving skills are superior and known as "woodcarving champion". In many temples and temples in Chaozhou, there are his paintings and carving works. The most famous of which are Qinglong Ancient Temple The "half -bank crab basket" Liang Tuo is the opening work of modern shrimp crab basket woodcarving products. It is said that Huang Kaixian saw the fisherman picking the crab basket to rush the night market to trigger creative inspiration. The "hair tail" carved knife he created solves the technical difficulties of multi -layer crossing.

In the 1950s, on the basis of the "half -border crab basket", Zhang Jianxuan and Chen Shunxuan combined with multi -layered and round sculpture techniques to create the "Crab Basket" that can be viewed on all sides, which not only broke the break. The limitations of the "half -bank crab basket" are the breakthroughs and innovations of woodcarving skills. In 1957, "Crab Basket" won the Copper Medal of the Sixth World Youth Gala. This is the first time that Chaozhou woodcarving has won international awards.

Chaozhou Gold Clawling Wood Carving Lobster Crab Basket (Shenzhen Museum Collection)

Gold lacquer wood carving products are generally small. On the one hand, they are limited by raw materials; on the other hand, pure hand -out output requires a lot of time and energy to spend a lot of artisans. Making large wood carvings has been a problem since ancient times. The Chaozhou Golden Painted Wood Carving Lobster Crab Basket was carved on a whole piece of wood in 1985. It is nearly 1.7 meters in height. It is huge in size and complicated. It is the concentrated manifestation of artisans' superb skills. The whole work is expected to be calm and quiet and seafood.

"Father with Son" and "Teacher with Apprentices" are the learning methods of traditional Chaozhou woodcarving. As a result, generations of skillful craftsmen, such as Huang Kaixian, Zhang Yu, Zhang Jianxuan, Chen Shunxuan, Gu Xikui, Li Dieong, Chen Peichen, Gu Liuxi ... Among them, Zhang Yu is the master of Zhang Jianxuan, Chen Shunxuan Cheng Jianxuan, Chen Peichen and Li Dean, Chen Shunqian. Chen Peichen and Chen Shunqian are not only masters and apprentices, but also father and son. Through such a teacher's relationship, gold lacquer wood carving has repeatedly innovated high on the basis of inheriting traditional crafts. Chen Peichen, Li Dieong, and Gu Liuxi were representative inheritors of the first batch of national intangible cultural heritage projects in Chaozhou woodcarving. In 2006 and 2012, they won the title of "Master of Chinese Arts and Crafts".

Chaozhou gold lacquer woodcarving fishery harvesting map circular landscape (Guangdong Folk Craft Museum Collection)

In 1965, the gold lacquer wood carving fishery harvesting of the gold lacquered woodcarving fishery harvesting of the Golden lacquer wood carving craftsman Chen Shunxuan, which focused on the process of 36 people's objective image, and its process from fishing boat unloading fish to the car load. He arranged the position of people and things according to the "S" path, and cleverly used the scene to separate the plot. The use of carving techniques, showing three levels of screen space, high and low, thin and thick, full of depth and rhythm. In 1978, Chen Shunqian and his son Chen Peichen went to Beijing to participate in the woodcarving decoration project of the Guangdong Hall of the Great Hall of the People; in 1998, the Guangdong Hall of the Great Hall of the People was updated and decorated, and Chen Peichen's woodcarving work "Lingnan Jiaguo" was selected; in 2012, Chen Peichen's son Chen Shudong's Woodcarving works are again selected into the Guangdong Hall of the Great Hall of the People. Since then, a total of 5 woodcarving works in the three generations of Chen have been collected in the Great Hall of the People. As more people are understood by gold lacquer woodcarving, people are amazing that they are exquisitely gorgeous, and they all admire the spirit of dedication, lean, concentrated, and innovative artisans. Lingnan craftsmanship's protection of traditional cultural spiritual cores and love for traditional handicrafts are even more worthy of praise.

For hundreds of years, a generation of founders have been passed down and newly introduced, and with smart hands, wood and gold as the decoration, decorate the buildings, a piece of rituals, and the same furniture. The gorgeous movement of Jinmujin. Gold lacquer wood carving fine work, full and complicated, golden and brilliant, drawing gold lacquer paintings, meticulous, delicate and gorgeous, containing rich cultural connotation, thick aesthetic spirit, and vivid historical stories. The people of Lingnan expressed their prayers for the gods, thinking about the ancestors, the beautification of life, and the vision of the future. Creative transformation and innovative development. (Wu Cuiming Tian Yan Wang Changwu and Wei Wei Wei/Wen Hu Shun Ba Yu Ting Huang Poems/Picture)

Edit: Xiao Weibo

Review: Zhang Shuo

Final trial: Li Wenchang

The works published in this number (including the design, text graphics, etc. of the title and editor), without the authorization of the Chinese Cultural Relics News Agency, may not be reproduced, extract, adapted or used in other ways.

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