First, art history
The red sandalwood carving and the red wood carving are the carving art that has been passed down to the present in the folk cultural heritage of China in the form and technique. It is mainly represented by furniture relief and round carving art. It has a long history and simple style. The rosewood is a precious wood, mainly produced in The South Sea Islands in the tropics. There are also a few growths in Guangdong, Guangxi, Guangdong, and Yunnan, and the growth cycle of rosewood is slow. It takes 800 years to become a material. Its wood is hard, tough, fine texture, weight, and immediately sinks in the water, purple-black. "The Museum of the Museum" said: "The new color is red, the old one is purple, there are crab claws, the new one is flooded, and it can be dyed." After the waxing and air oxidation, you can see its texture. Dense, gradually evolved into red purple, black purple, deep and steady color, with a sense of quaint silence.
After the carving of red sandalwood, with the age of the age, it is more quaint and elegant, and it is calm and elegant. In the Ming and Qing dynasties, it was the main appreciation and collection of the court. Judging from historical data, China's woodcarvings have a long history. In 1977, a large number of wooden tools were discovered in the Hemudu Village of Qitao, Zhejiang Province. There are unique wooden paddles and round wooden fishes. In the Tang Dynasty, the shape of woodcarving art has been Perfection, especially Buddha statues, bodhisattvas, etc., Song and Yuan woodcarvings are influenced by social changes. The works focus on realism, highlighting vividness, expressiveness and good health. The woodcarving art of the Ming and Qing Dynasties has achieved unprecedented development, either in terms of techniques or In terms of styling, it emphasizes the combination of art and realism, and gradually forms the wood carving art of different categories and styles. The red sandalwood and mahogany carvings have become the high-quality carving materials handed down by the people with their unique texture and texture, especially in the Suzhou area. In the Ming Dynasty, Suzhou and its surrounding areas not only have a lot of workshops dedicated to engraving, but also famous masters who have a variety of skills, such as "Zheng Zheng" (Dao Che) Changshu, who specializes in furniture Xiaozhong, especially in the case. The production of a few, his design of the "Butterfly" consists of thirteen triangles of different sizes and small polygons, which are similar to the current seven-seat table, which can be combined at will. In more than one hundred forms. There is also Bao Tiancheng, a native of Suzhou who is good at the design and production of the “Su-style†small pieces. He is the outstanding figure of “Su-style†furniture made by Suzhou Yusi and Yuan Youzhu, and he was called by the seniors of his time. The Ming Dynasty generation of wonderful skills." Suzhou is located on the bank of Taihu Lake. From Ming to Qing, it is always the economic center of Jiangnan, the people, the spirits, the scholars and the literati. The local mahogany carving and mahogany furniture production process has reached its golden age. Many literati not only participate in the design, but also make it by hand. This makes the cultural connotation of mahogany carving products more abundant, and the artistic performance has been greatly improved. In the shape and content, it tends to pursue natural interest, meaning festive, auspicious meaning, and the theme is mostly traditional flowers, birds, bamboo stones, characters. Mainly, paying attention to personal and temperament, presenting the spirit of self-satisfaction, reaching the artistic conception of “the smokeless fire Dulan incense, Kunwufeng is hard to endâ€, the outstanding representative of modern mahogany carving represents the Chinese arts and crafts master Lu Hansheng and so on. With the continuous improvement and improvement of the first generation of carving artists, the red sandalwood mahogany carving has achieved unprecedented development, creating works of art that are more independent and have strong local and folk characteristics, regardless of performance skills or subject matter content. Lu Hansheng The mahogany "Lotus Roots" is now in the Shanghai Expo, and the mahogany "Five Dragons and Jade Rings"
Second, structure and performance techniques
As a part of folk arts and crafts, red sandalwood carvings have been generally accepted today, but the understanding of its cultural connotations has yet to be deepened.
Over the years, people have not only completely ignored the art of mahogany carving, the craft and its aesthetic value, but also considered it to be just the general skill of the general craftsman, seldom paying attention to and studying it, and not taking it as part of traditional art.
In history, the mahogany carving process is a highly professional craftsmanship. Craftsmen make a living by craftsmanship, and all kinds of skills are proprietary to a family or family. There are various strict systems for inheriting the apprenticeship. If the apprentice learns to invite the guest to the teacher and hold a certain ceremony before starting the apprenticeship, the master does not immediately teach the art. The apprentice must do some chores first, and the true teaching of the skill often needs to be quite between the apprentices. The sense of trust will only begin, so some less flexible apprentices, even after completing the three-year full course, do not know how the mahogany products are going. When the teacher is full, he often has to hold a grand ceremony. The apprentice teaches with various foods, and the master gives gifts of various tools for mahogany carving. This ceremony ends, meaning that the apprentice can operate independently. The form of the teacher not only reflects the fine traditions of the Chinese people who respect the teachers, but also expresses the ardent expectations of the masters. From the early days of master craftsmanship of master mahogany carvings, they are both designers, producers, and operators. In their design and production, the mahogany carvings subtly blend the creator's feelings, showing the warm human touch and the simple and natural intimacy. The development and creation consciousness of mahogany carving products, the social economic environment and the local natural resources have a very important relationship. Shanghai is a seaport with quite developed traffic. The various natural resources required for the production of mahogany carving products are quite rich. The creation of mahogany products has played a role in fueling the situation. There is also the intangible culture that is the influence of social thoughts. The tangible culture, that is, the influence of other works of art, is reflected in the mahogany carving products.
The craftsmanship of red sandalwood mahogany has been inherited for generations from generation to generation or by the masters. With the development of society, this technique is constantly being improved. However, no matter how the environment evolves, the technique of red sandalwood carving It is always hand-carved as the main means, and it contains the basic elements and operational characteristics that must be possessed in the creation of red sandalwood mahogany. In a far-reaching sense, the red sandalwood carving technique combines the essences created and refined by generations of artists for this unique folk art. These techniques are not only very simple and unique, but also have their own philosophical rationality. Whether it is from the technical process or from the aesthetic point of view, the red sandalwood and mahogany techniques should have a fairly complete chapter, which is for those who learn carving techniques. In terms of it, it is worth learning and using. The skills and creative methods of red sandalwood carving have certain craft creation and operation basis. Such as "from top to bottom, from front to back, from the table and inside, from shallow to deep", that is, from the head to the heel: first chiseling the front body and then the back body, starting from the wood skin, one layer one Pushing the floor inward, first to cut the shallow place, then to cut the deep place, in short, to have a well-thought-out, step by step.
For example, Maitreya Buddha is a traditional theme of mahogany carvings. The characters are optimistic and funny. The main features are: short short head, short foot, short fingers; only the abdomen is large, the skin is long." In the sculpted figure, the eyes are expressive. The key to portraying is "the difference between men, women and children, and the changes in the seven sentiments are fine. The handsome warrior is beautiful, the lady is beautiful and the eyes are pretty; the old eyes are complex, the children's eyes are round like peaches, and the eyes are small and then enlarged, otherwise It will be a mess." Turning natural phenomena into artistic images and turning life into art requires the imagery of the sculptors to consider the art processing techniques. In this respect, there are stylized exaggeration, distortion problems, general refinement problems, artistic imagination problems and artistic ideas. The skill of the generations of folk sculptors in the long-term practice is the general form of law that constitutes the beauty of art. Any design is inseparable from them. These slogans fully reflect the creators' professional skills, the ability to control craft materials and craftsmanship, and the ability to embody creative intentions and aesthetic requirements.
Third, the innovation of red sandalwood carving art
The artistic conception of red sandalwood and mahogany carving must rely on the modern aesthetic consciousness and traditional art characteristics to produce elegant taste and artistic conception. In the creation of red sandalwood mahogany, the style change can directly express the author's individuality. Make it more in the creation of deep rational content, express the inner meaning. Inspired by the overall experience of artistic innovation, the inspiration is inseparable from the accumulation of materials, the conceiving of ideas and the exploration of techniques and techniques. In the development of looking for a strong vitality, free from the single-to-one rigid model in research and exploration, the creation of red sandalwood mahogany sculpture is to inherit a good traditional technique and boldly walk out a path suitable for oneself, famous scholars Yu Qiuyu said in his "Cultural Hardship" book "Sha Yuan Yin Quan" that "there will be roads in the desert, but this is not there. From a distance, there are a few lines of twists and turns, but no, they are stepped on." The place that passed, only to be difficult to walk, can only use his own feet to take a new road, look back and be happy for his long footprints. "Let us open up the modern aesthetic consciousness. This contains unparalleled strength. The "bow", with the help of traditional craftsmanship, is the "string" of the toughness of the art, and the "arrow" of its unique artistic conception is directed to the distant life and art space.
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