The art of bamboo carving in our country has a long history. Our academic and archaeological circles have always believed that before the invention of paper and ink, the ancestors had learned to use the knife to engrave the notes on the pillars. This most primitive bamboo carving should precede Oracle. Because Oracle has already had three elements of calligraphy art, and the so-called bamboo carving notes are only symbols. In ancient times, China's Central Plains and the northern regions did not grow bamboo, so they were written with animal bones. When the south was rich in bamboo, the symbols or words were engraved on the bamboo. But the bamboo tube is difficult to store, not comparable to the animal bone. Therefore, after a long period of time, we are fortunate enough to see the Oracle relics of the Yin and Shang Dynasties today, but it is difficult to see the bamboo carvings of the time. However, according to the records in the ancient literature, the source of Chinese bamboo carving art has already appeared before the Shang Dynasty. This is beyond doubt.
In addition, China has begun to use bamboo to manufacture and produce utensils in ancient times. For the beauty of nature, the decoration is applied to the bamboo products, and there is no difference between the carved jade, stone, bone and wood. Therefore, it is not surprising to find carved bamboo in the original social sites. However, bamboo is easy to break and it is difficult to preserve it.
Pre-Qin bamboo carving
Bamboo carvings are a formal work, and bamboo carvings have been formed during the Western Zhou Dynasty. According to the Han Dynasty Dai Sheng "Ceremony, Yuzao" records, the Western Zhou Junchen held the hands of the shackles (also known as the hand), some are made of bamboo, "Where there is a finger painting in front of the king, with 芴. Made by the pre-Jun , then the book is in the 芴." It’s just that the official position is different, and the material of the dragonfly is different. “The emperor uses the ball jade, the princes use the elephant (tooth), and the doctor uses the fish bamboo, the bamboo, and the wooden elephant.†The scholars are all holding bamboo long and narrow boards. This kind of enamel is also engraved with some ornamentation. Although it is not a kind of handicraft, it reflects the use of bamboo in the pre-Qin period and can be cut. Or engrave some simple finished products. Bamboo slips appear almost simultaneously with cockroaches. In archaeological excavations, there are many such bamboo slips in which the words are written, such as "The Art of War" and the bamboo slips that record medical prescriptions. In addition, bamboo fans, bamboo pens, bamboo guns, bamboo baskets, bamboo mats, bamboo boxes, etc., are also available.
During the Warring States period, lacquer ware was popular and the art of lacquer carving flourished. A considerable part of the lacquerware tires are made of bamboo or bamboo, which is influenced by the art of lacquer carving. Later, the production of bamboo itself also has an artistic tendency. The hoof-hoof-covered bamboo lacquer box unearthed in Hubei is the product of this artistic tendency. It is first carved into a round box with a hoof-like bracket, and then painted. This carved bamboo box is a precious material for us to study the history of bamboo carving today.
Han and Tang Dynasties
The bamboo carvings of the bamboo carvings of the Han and Tang Dynasties, which are currently seen in the early artifacts, are the dragon-painted bamboo spoons carved out of the Western Han Dynasty tombs in Mawangdui, Changsha, Hunan. This embossed dragon-shaped lacquered bamboo spoon has a total length of 65 cm and is made of bamboo. The table is black and red. The top of the spoon handle is red, and the black dragon is embossed. The image is vivid and simple. And in the Jin Dynasty, a bamboo pen holder appeared. According to ancient records, the bamboo pen holder used by the Eastern Jin Dynasty calligrapher Wang Xianzhi is very delicate. Wang Xianzhi's pen holder is similar in shape to a bell--a round pot used in ancient wines. The surface of the bamboo has markings, like a suede. Wang Xianzhi calls it "the bell", but there is some truth, but This also reflects that the artificial engraving process has not yet appeared on the bamboo pen holders made at that time.
During the Southern and Northern Dynasties, according to the introduction of Nan Qi Shu·Ming Shu Shao Chuan, Qi Gaodi Xiao Daocheng once gave a piece of “Ruyi Bamboo Skull†carved with bamboo roots to the great hermit Mingxi Shao. In the poem of the Northern Zhou Dynasty writer Geng Xin's "Reporting Zhao Wanghui Wine", "the wild leaves are in the leaves, the mountain cup holds the bamboo roots", and the wine glass carved from the bamboo roots is also mentioned. Explain that the art of root carving has emerged during the Northern and Southern Dynasties. The image carving process of bamboo began in the Tang Dynasty, and the most famous one is the bamboo shakuhachi with the task of flower and bird. Shakuhachi is a vertical wind instrument. Named after the length of the tube is about one foot eight inches. Existing
The bamboo carving of the Chinese Tang Dynasty is the shakuhachi of the Chinese Tang Dynasty. It is 43.6 cm long and has a mouth diameter of 2.32 cm. It has three sections and is decorated with ornaments. There are 5 pressure holes on the front and 1 on the back. This shakuhachi, using the method of staying in the green, the shallow carving of Shi Yinwen, around the perforation and the upper and lower sections, all have pattern patterns. The image of the ladies, trees, flowers, birds and butterflies is very delicate, with Tang style.
According to Guo Ruoxu's "Drawing in the Picture", when the Tang Dynasty Texas thorns Wang Yijia had a writing brush, the bamboo pen tube was "slightly thicker than the commonly used pen tube, each with a half inch, and the middle of the army was a supplement, the horse hair, The pavilions and clouds are all brilliant. Everything is inscribed with the poems of "From the Army". For example, the "Qingqi in front of the court has been climbed, and the foreigners have not returned to the foreigners". It is also a non-human power. It can be argued to the Ming side that the cloud is carved with rat teeth, so Cui Weilang has a collection of 'Wang's pens and tubes', and the body's Han retreats."
From this we can see that the bamboo carvings of the Han and Tang Dynasties, in the history of bamboo carvings, are still in the stage of artistic creation. Its characteristic is to pay attention to the external shape. Therefore, the root carvings were produced at that time, but the carvings on the table were decorated. It is still a single expression technique - line engraving.
Song and Yuan bamboo carving
The bamboo carving Zhao Yuzhen’s "Antiquities Guide" said: "The bamboo carvings, the bamboo carvings. The works are the same as the paintings, but the knife is used for the pen and the bamboo is the paper ear. The people who know the paintings and paintings know that it is easy to use knife and bamboo. It is more difficult than the paintings and calligraphy! According to the ancients, the book was cut into simple books, and the rule of bamboo was long for the people of the country. The bamboo was carved into cultural relics. Perhaps it was also done in ancient times, only the rule was not refined, and the name was unknown. Chuanzhuo!" This passage is mainly about the bamboo carvings before the Song Dynasty.
In the Song Dynasty, there were some major changes in bamboo carvings in China, mainly reflected in two aspects. First, the Song Dynasty was the most developed period in ancient history. It has formed a large and culturally literate literati class. Their artistic aesthetic thoughts and requirements have led to the entire engraving process including jade carving and bamboo carving. development of. At this time, bamboo is regarded by the literati as a symbol of purity and integrity. It often appears in poetry and literary works. The most famous ones, such as Su Shi, "we would rather have no meat, no bamboo." The poet's pastoral "the heart is different from the grass, the festival is more and more common", and the bamboo is anthropomorphized. It is precisely because bamboo has such a lofty position in the minds of scholars, and the bamboo carving technique is highly valued. Second, the bamboo carvings have an artistic tendency, and bamboo carvings and bamboo carving artists are widely praised. According to the Yuan Dynasty Tao Zongyi's "Geng Genglu", there was an artist Zhan Cheng in the Southern Song Dynasty. The bamboo bird cage he carved was "four sides of the flower version. It was carved into a palace, a figure, a landscape, a flower and a bird, and a bird on a bamboo piece. Exquisite and exquisite activities." It can be seen that the bamboo carving technique is high and the works are beautiful. Therefore, Tao Zongyi could not help but praise Zhan Cheng: "For more than two hundred years, there is no such thing."
Ming and Qing bamboo carvings
Bamboo carving Throughout the history of the development of Chinese bamboo carvings, we have seen the bamboo carving industry in the Song Dynasty has emerged. During the Ming and Qing Dynasties, the art of bamboo carving reached its peak, and there was a scene of blooming flowers. In the Ming and Qing Dynasties, the literati doctors wrote bamboo, painted bamboo, planted bamboo, and carved bamboo into a wind. The cultural content of bamboo carvings also rose rapidly. At this time, the flourishing of cultural paintings promoted the combination of bamboo carving and painting and sculpture, which led to the unprecedented development of bamboo carving art. According to the introduction of Jin Yuanzhang's "Bamboo Manpower and Everything" in the Qing Dynasty, at that time, the bamboo art "carved two groups, starting with Jinling (Nanjing) Qi Zhongqian, starting with Jiading (Wuyi) Zhu Songlin." As sculptors, Zhu Songlin, Qi Zhongqian and others are not limited to performing on bamboo. Rhino, ivory and rosewood are also commonly used materials. The ability to grasp the performance of various materials and various techniques makes their sculptures like God. As craft artists, they are longer than calligraphy and seal engraving, composition painting is omnipotent, and both have the literary talents of the literati. Therefore, their bamboo carvings are full of creativity, and the book is full of style and craftsmanship; they use the natural form of bamboo, and the simplicity and simplicity of the bamboo, which set off the essential characteristics and cultural meaning of the bamboo. The works are accepted by the literati, and have been passed down to the Chinese nation. Valuable artistic wealth.
According to historical records, the bamboo carvings of the Jiading School in the Ming Dynasty can be used to engrave landscapes, figures, pavilions, birds and beasts, shallow carvings, reliefs, and round carvings. The knives are exquisite and the art is exquisite, and they are appreciated by the people. For the knife. Therefore, the prosperity of the Jiading bamboo carving art school continued until the middle of the Qing Dynasty, and there were dozens of successors. The bamboo carvings of the Jinling School of the Ming Dynasty are known for their root carvings and bamboo engravings. Compared with the gorgeous bamboo carving style of the Jiading School, they are simple and elegant. However, the inheritance of the Jinling School was not prosperous, and it was extended to the Qing Dynasty. There were very few master craftsmen who could fully embody the style.
At the beginning of the Qing Dynasty, Jiading sent bamboo carvings to flourish and reached its peak in the middle of the Qing Dynasty. During the Qianlong and Daoguang years, the Jinling School of Pan Xifeng and Fang Zhujia became the temple soldiers of the Qing Dynasty. In addition, Zhang Xihuang and Shang Xun's technique of retaining the green lines of the green is very literary and temperamental.
During the reign of Emperor Kangxi and Qianlong, the founding office created bamboo and yellow carvings, using boxwood as the tire, and carving the various layers of bamboo with the endothelium of the bamboo, which was attached to the watch, and the name was “sticky yellowâ€. Later, Jiading, Huangyan, Shaoyang, Jiang'an, Shanghang and other places were produced. After Qianlong, the founding office also created imitation bronze bamboo carvings, the shape and decoration of the bronze wares of the knives, and the handles and girders are especially ingenious.
After the outbreak of the bamboo-carved opium war, China gradually became a semi-feudal and semi-colonial, social turmoil, economic decline, China's urban and rural handicraft industry was severely damaged, and led to the decline of bamboo carving art. The bamboo carvings of this period are mostly inscribed with ruins and bas-reliefs. The techniques of deep carving and round carving are rarely applied, so they are single and flat. Although the sculptor also has the ability to paint good pictures, most of them can only use other people's drawings to engrave them. There is no creativity and there are few levels of works. Therefore, there is a lack of artistic appeal, and the picture is also dull. The knife method lacks elegant flow. Therefore, the art of bamboo carving with literati temperament quickly returned to the original craftsman's work. This is the inevitable result of the years of disaster, depression and dying.
The early bamboo carvings have few remains, and most of them have been handed down to the Ming and Qing Dynasties. They are generally simple and honest, full of composition, full of body, deep knife, often made deep relief or openwork, the lines are strong and powerful, and the corners are out. The variety is mainly pen holder and incense tube. In the early Qing Dynasty, there were still Ming Dynasty legacy, but the performance techniques were more diverse. Shallow engraving, bas-relief, greening, and round carving were paralleled at the same time. The variety was expanded. In addition to the pen holder and incense tube, the arm rest, bamboo root figures, animals and rocks were available. The production is exquisite and neat, exquisite and elegant, and the likes of Zhang Xihuang's staying in the mountains and rivers, and Deng's shallow inscriptions are all very distinctive.
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