The stone pillar base carvings of the Luze Guild Hall use a wide range of materials and have novel shapes.
Most of them are birds and animals, combined with auspicious plants, their movements and stillness complement each other, creating a unique artistic effect.
From this we can see the unique ideas and superb skills of ancient artists.
And it is not without regrets, because some of the precious buildings inside have been damaged.
Although Luze Guild Hall has a history of nearly 300 years and is relatively well-preserved, it is listed as a "National Cultural Relics Protection Unit".
However, part of its essence has been lost forever.
Now you can no longer see the handicrafts and craftsman's efforts on it. The essence of this part is the Nine Dragon Wall, Wenchang Tower and Kuixing Tower in front of the theater.
They were all destroyed in the 1960s and 1970s, such as the Nine Dragon Wall, which was originally located at the southernmost end of the central axis of the Luze Guild Hall.
It faces south and faces north, about 10 meters high and 8 meters wide.
The walls are inlaid with hundreds of glazed components and are gorgeously decorated.
On the south side of the screen wall, there are double Xumi stone pedestals, and the waistband is decorated with changing patterns of longevity and longevity.
The wall is composed of three round three-dimensional sculptures, inlaid with the patterns of "Two Dragons Playing with Pearls", "Lions Playing in Fighting", and "Fishermen, Woodcutter, Farmers and Reading" in sequence.
There are two couplets embedded between and on both sides of the pattern. The inner couplet is "The glow on the wall is comparable to wealth, and the soup wall looks up to the heroic spirit". The outer couplet is "The majesty has swallowed up Wu and Wei, and the light often shades Jin and Qin."
It is said that the martial sage Guan Yu has a high reputation.
On the north side of the screen wall, there are double Xumi stone pedestals with the same pattern as on the south side.
The middle part of the wall is inlaid with nine auspicious dragons, and the surrounding nine dragons are decorated with the word "福" which means wealth, peonies and good luck and other patterns.
The Nine Dragon Wall of Luze Guild Hall has high historical value, scientific value and artistic value.
After more than 240 years of ups and downs, it encountered a big storm and unfortunately was not preserved.
It was demolished at the same time as the nearby Wenchang Pavilion and Kuixing Tower.
Of course, it is not that there are no good things in Yangluo now, because after all, this place has a profound historical and cultural heritage, so it also has many inheritors.
When he walked out of the guild hall, Chen Wenzhe saw an exquisite root carving.
This is a root carving work from "Yellow River Family". It is very delicately made and the craftsmanship is top-notch.
Seeing it, Chen Wenzhe seemed to see the carving knife in the author's hand flying on the log.
Either rough and powerful, or exquisitely carved, after some carving, a piece of unknown log has completed a gorgeous transformation.
Whether it is characters or story scenes, whether it is flowers, trees or insects, fish, birds and beasts, a small piece of wood is "packed" with a wonderful world. This is the traditional charm of wood carving display.
This is Mengjin wood carving, and only at a close distance can you feel the beauty of this wood carving art.
Chen Wenzhe can see that it is 70% natural and 30% man-made. Only in this way can the ingenuity of it be revealed.
It was the golden autumn season, and Chen Wenzhe walked into someone else's studio because of a root carving.
It was only when he came here that Chen Wenzhe discovered that there was actually a cave of his own here.
From this we can also see that Yangluo is indeed a thousand-year-old ancient capital.
Walking into An's Woodcarving Studio in Mengjin, the scent of golden nanmu floats in the air.
The owner here is a representative inheritor of municipal intangible cultural heritage and the fifth generation inheritor of Mengjin wood carving.
At this time, the woodcarving master was concentrating on carving. Under the influence of his family environment, he was good at oil painting and stone carving.
On the basis of inheriting his ancestral business, from 2009 to 2015, he went to Hu Jian to learn root carving and wood carving skills.
Since then, he has mastered the entire process from material selection, composition, roughening, carving, polishing to finished product, as well as various carving techniques such as relief, three-dimensional carving, and hollow carving.
Wood carving is a type of sculpture. The materials are generally selected from tree species that are fine, tough and not easily deformed, such as nanmu, thuja, rosewood, camphor, ginkgo, agarwood, etc.
The wood carvings he makes pay attention to seven parts natural and three parts man-made. He mainly focuses on root carvings, based on the shape of natural tree roots and the characteristics of the root material.
Flexibly and flexibly grasp the parts that should be carved more and less carved, leaving what should be left and not leaving what should not be left.
You can also create a certain interest based on the color, caves, scars, textures, etc. of the root material.
The creation of wood carving works is based on the intention first, unlike root carving, which is based on the material.
Once the author has a clear theme, he can carve it according to his personal preferences and interests.
The work "Yellow River People" presents the life scenes of Yellow River people and uses root carving art to promote Yellow River culture.
In the early days, most of the wood carvings were Buddha statues, and later they gradually developed into flower-and-bird landscapes.
In recent years, he has been based on traditional wood carving techniques, combined with modern creativity, and constantly innovated based on years of carving experience.
Therefore, a batch of creative root carving works with Yangluo regional characteristics were carved.
These works are full of Heluo cultural elements and rich in folk art connotations, and are loved and collected by art lovers.
In this studio, there is a dazzling array of wood carvings and root carvings in various forms, which have gradually entered the homes of ordinary people.
The market potential of real wood carvings is definitely not as big as root carvings.
It's not that root carving is better, but because modern people are pursuing it.
Of course, ancient people also liked root carving, especially ancient scholars. After all, it was an elegant thing.
Since there are people pursuing it, naturally many works will be handed down.
Surprisingly, in this studio, Chen Wenzhe saw a very ancient root carving artwork.
"This should be an imitation, right?" Looking at the dragon in front of him, Chen Wenzhe quickly determined that this should be an imitation.
Because he remembered that this dragon was unearthed.
However, it should indeed be the earliest root carving work discovered in my country.
This root carving work was found in Jingchu and belongs to the root carvings found in the Chu Tomb of "Mashan No. 1" in Jiangling to ward off evil spirits.
It is naturally shaped according to the roots of the tree, carved in the round and painted, and the whole is a long and curved dragon shape.
The total length is 0.69 meters and the height is 0.31 to 0.4 meters.
It has a round body, high legs, a dragon head with a curly tail, complete eyes, ears, nose, mouth, whiskers, and teeth, and a ferocious face.
Mashan Chu Tombs, Chu Tombs Group during the Warring States Period.
Covering an area of about 100,000 square meters, more than 10 rectangular pit tombs were excavated from 1982 to 1983.
Tomb No. 1 has a sloped tomb passage, and the burial equipment is a coffin and a coffin. The coffin is covered with a thick bamboo mat.
The coffin is divided into coffin chambers, side compartments and head compartments with partitions.
Three lines of linen were tied horizontally outside the coffin, and a silk coffin cover was covered.
The space inside the coffin was filled with quilts, and covered with a plain silk cotton robe and a silk quilt fully embroidered with dragon and phoenix patterns.
Underneath, the corpse was wrapped in 13 layers of quilts, and the outside of the quilts was tied horizontally with nine brocade ribbons.
A total of 19 pieces of quilts were unearthed, including silk quilts, quilted quilts, cotton robes, skirts, cotton hakama, etc.
Clothing materials include silk, gauze, Luo, brocade, and embroidery, including all varieties of silk fabrics in the Pre-Qin period.
More than 130 pieces of silk and linen fabrics, bronze wares, pottery, lacquer wares, bamboo wares and wooden figurines were buried with him.