Shoushan stone carving

Name of China's national intangible cultural heritage: Shoushan stone carving

Applicant: Fuzhou City, Fujian Province

Item No.: 334

Project No.: Ⅶ - 35

Time of publication: 2006 (the first batch)

Category: traditional art

Region: Fujian Province

Type: new item

Applicant: Fuzhou City, Fujian Province

Protection unit: Taiwan Strait Shoushan Stone Culture Research Institute

Shoushan stone carving

Applicant: Fuzhou City, Fujian Province

Shoushan stone carving is a traditional folk carving art. It is made of Shoushan stone produced in Beifeng mountain area in the north of Fuzhou. Through special techniques, it makes small sculptures for people to enjoy. Shoushan stone carving skills mainly spread in Gushan, Yuefeng town, Xiangyuan, Wangzhuang street and Shoushan Township, Jin'an District, Fuzhou City.

Shoushan stone is rich in stone quality, stone color, stone shape and stone pattern. It is crystal clear and moistening, and has a wide variety of varieties. Its hardness is between 2.5 and 2.7 moles. It is a top-grade carving stone with the characteristics of fine, knot, moistening, greasy, warm and coagulating. It is called "Shi Di" and "Shi Hou" by the people, and has the saying that "precious stone but cheap jade". Shoushan stone carvings with independent shapes have a history of 1500 years. In the Southern Song Dynasty, Shoushan stone mine had been mined. After the development of yuan, Ming and Qing Dynasties, an independent Shoushan stone carving industry was finally formed. Emperor Shengzu of the Qing Dynasty and other emperors all used Shoushan stone to make seals. Among Shoushan stones, Tianhuang stone is the most valuable. It is said that "one or two Tianhuang and three or two pieces of gold". In the Tongzhi and Guangxu years of the Qing Dynasty, Shoushan stone carving formed its own unique style, with the emergence of East Gate and west gate. The Dongmen school, represented by Lin Qianpei and Lin Yuanzhu, is good at the round carving of characters, landscapes and animals, while the Ximen school, represented by Pan Yumao and pan Yuquan, creates the thin meaning technique with the characteristics of Chinese painting from the traditional button printing technique. Later, there appeared Lin Qingqing's thin carving, which made Shoushan stone carving enter a poetic realm and improved its cultural taste.

Shoushan stone carving techniques are rich and varied, exquisite and sophisticated, and are widely developed in the development process, blending China's paintings and various folk crafts carving skills and artistic essence. Its techniques mainly include round carving, button carving, thin meaning carving, hollow carving, low relief, high relief, inlay carving, chain carving, seal cutting and micro carving. Shoushan stone carving works have a wide range of subjects, including characters, animals, landscapes, flowers and birds. Because of these reasons, Shoushan stone carving has a wide social influence. It has the artistic charm of "accompanying emperors and generals, literati and refined scholars in China, and being close to common people". It is highly praised by connoisseurs and collectors at home and abroad.

Shoushan stone carving occupies a prominent position in Chinese traditional jade culture, and its related carvings have become the symbol of elegance, delicacy, dignity and wisdom. Shoushan stone carving pursues the artistic effect of both carving and carving, and advocates returning to the original. Therefore, it takes "Xiangshi" as an important link, pays attention to the use of stone shape and color, and skillfully applies techniques, so as to achieve the realm of "harmony of nature and Craftsmanship". At present, the main inheritors of Shoushan stone carving are Lin Wenju, Liu Aizhu, Jiang Yilin and Wang Jihua in the west, and Guo gongsen, Lin Yuankang, Guo Maojie, Lin Bingsheng and Lin Fashu in the East.

Shoushan stone is a rare stone, its resource management was in a disordered state in recent decades, which led to excessive mining and caused adverse effects on stone carving. At present, many old artists are getting older and unable to continue carving, while the traditional relationship between teachers and successors has been destroyed. Shoushan stone carving has no successor and is in danger of being lost. It is urgent to rescue.