The artistic realm of mahogany furniture carving

The development of traditional Chinese furniture has a history of thousands of years. In this long history, the big waves of sand picking gold have left many masterpieces. As Chinese classical furniture has been favored by more and more people, Ming-style Qing style antique furniture has become very popular in recent years, especially the copy-like furniture of the hundred workers and even thousands of workers has set off a fine-cut style, satisfying people. The pursuit of elegant life. Of course, the fine selection of finely crafted, well-crafted and sophisticated furniture is highly sought after by collectors. It is worth mentioning that although more antique furniture is finely crafted, it has been criticized as “focusing on the local and neglecting the whole”, just pursuing red tape. Fine tasting, these furniture carved and full of patterns will be "fine" to the extreme, but they can not reflect the "fine" of traditional carving.

What is “fine” and “fine”? “fine” and “fine” should be two different concepts. "Fine" is mainly for the process technology, the pursuit of pure visual beauty, as often said "must must be present." The concept of "fine" is much broader. It refers not only to the beauty of the technical level, but also to the matching of shape and God, which is reflected in the perfect combination of overall concept and partial decoration. It is no wonder that experts and scholars often say: "The real art is not elaborate, but cleverly conceived."

Furniture carving should promote the "fine" of the craft, that is, the match between the shape and the god, in order to take it to the next level. However, “fine” is often overlooked in the creative process, and “fine” is often over-emphasized. Excessively sculpted and "smart" without emotions, the furniture as a whole loses its ingenuity and is only craftsmanship. For example, the engraving of dragons and phoenixes is as fine as possible, and is more beautiful, but in terms of expression, it is a unified "circling play", "tears" and "face". In the eyes of laymen, "fine" is the supreme beauty. The formation of this immature aesthetic concept and creative attitude is mostly not a technical reason, but an internal reason for the lack of understanding of the theme and content of the creation and the lack of aesthetic knowledge.

How can we achieve "fine" and achieve ingenious ideas? This requires craftsmen to possess skillful skills and at the same time have certain creative ability. It requires both intuition and rationality, and pays attention to the unity of shape and God. If we say that "fine" grasps the universality of things, "fine" reflects the unique characteristics of individuals and express them vividly. For example, walking in a bustling crowd, an acquaintance can recognize it at a glance, why? Because you have captured his or her form and demeanor through familiarity and understanding. In the same way, in the process of carving furniture, the principle must also be applied to grasp the artistic conception of the carving, and should not be just a "duck-up".

In the engraving process, the characters depicting, especially the beauty carvings, can best show the artistic accomplishments. How can we break through the same artistic expressions such as “the melon face”, the “Kuan Yin hand” and the “small waist”? In fact, each beauty has different characteristics. The expression of thoughts and emotions are different, and the focus of the carvings is different. For example, if you want to express Lin Daiyu in "Dream of Red Mansions", you should grasp the characteristics of her frail and sick and sentimentality, and should focus on scribing the body thin, frowning, with a pathological beauty. In the performance of "The Song of Everlasting Sorrow", Yang Guifei, her snow-skinned appearance is full of body, and her image should be full of eyes, highlighting the elegance and affection.

It can be seen that the furniture carving is a three-dimensional space art that the craftsman shows through the meticulous observation and shows the "fine" carving art, in order to pursue the silent language and the three-dimensional poetry, which is the upper realm of furniture carving. In every concern and gaze, in each of the trials and discoveries, we can find a sense of artistic feeling, and express heartfelt sighs for human artistic creation and magical wood materials.

This piece of huanghuali rose chair in the middle of the Qing Dynasty is a classic sculpture. The shape of the work is positively collected, and the backrest's brain and armrests are made of a simple smoky pot-type shackle structure. The trowels on the vine seat and the large edging are engraved on the sleekly carved stalks, and the armrests and the three sides of the seat are It is a embossed embossed sculpture. Although there are not many inks, it is exquisite and moving. The most pleasing thing is the idea of ​​backboard carving: a variant of the word in the middle, surrounded by many crepe lines, meaning the children and grandchildren, all in the form of openwork. It should be noted that the low back of the rose chair is not to fall overhead when placed by the window. This open-back back panel has a powder wall under the window as the background, which is superb and real, doubles the appearance of the picture, and becomes the eye-catching highlight of the work.

Another small huanghuali small screen in the Qing Dynasty also has a literary heart, although the height is only 37 cm, but it has been designed before the knife. Seeing the masculineness of the square plaque and the square plaque on the skirt, it is in fact a contrasting form beauty with each soft curve on the screen. Considering that the work is the decoration of the literati desk, the author has a fun arrangement on the subject of the painting on the screen: a reed slanting out with the wind, the lotus flowers are swaying, and another egret is under the lotus leaf. Constantly eating delicious fish... The carvings are exquisite and vivid, not only aesthetically pleasing, but also the homonym of reeds, herons and lotuses, expressing the warm blessings for the readers of the cold window: "All the way ".

Before these masterpieces, no one was touched by the vivid charm of their life. Pursue the echo of the heart with the heart of the wood, and express the impressions of the characters, animals, flowers and plants in the mind through the knife in the hand. Imagination must conform to the objective laws and specific artistic conditions of things. Observing should focus on the details of things, and the masters should have superb control over the knives. Only by doing tacit cooperation between the brain, the eyes and the hands can the artistic sparks be emanating. The skill of the furniture carving technique is also familiar with the natural language of grasping wood. Natural wood grain is borrowed from the works, the wood fun formed by the knife, the exposed wood grain wheel and the wood rhyme that appears, can find a harmonious and magical treatment.

In short, "fine" and "fine" are dialectical and unified. "Fine" is the basis of "fine", and "fine" is the sublimation of "fine". "One minute on the stage, ten years of work under the stage", to achieve "fine", "fine", like the use of pens in the art of painting, practice makes perfect. To create a furniture carving with both form and spirit, it is also necessary for the craftsmen to be precise and strive for excellence and excellence.

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