Jieyang is home to many ancient buildings
On the beam frame, in front of the screen
The décor was amazing
The so-called carved beam painting building is nothing more than this
The charm belonging to Jieyang is soaked with wood and stone gold paint
Decorate the ancient city
Wood carving, but not just wood carving
When you walk through the ancient buildings of Jieyang, you will find that whether it is the beams of the building, the ceremonial utensils placed in the halls, the plaques inscribed by famous artists, all of them are decorated with exquisite wood carvings. The most special thing is that most of the wood carvings here are painted with gold, magnificent, and the flowers, birds, fish, insects, legends and stories come alive and shine dazzlingly.
Carving of the "half crab basket" on the beam frame of the Pavilion of the Guandi Temple (Photo: Lin Jiayan)
Chaoshan wood carving is famous and widely distributed in the Chaoshan region, and is an ancient and brilliant folk art. Among them, Jieyang wood carving is famous for fine carving, "shop fine goods out of Jieyang" is said to be Jieyang wood carving artists made of food boxes, incense burner covers, shrines and rafters and other kinds of artifact wood carving artwork carving, carving precision, many styles, is the Representative of Chaoshan wood carving in fine, ingenious and fine.
Clear gold lacquer wood through carving flower drama character pattern six prismatic three-layer food box (source: Jieyang City Museum)
With the development and spread of wood carving, the technical techniques of Jieyang wood carving carving have become more and more refined, such as sinking (concave) carving, floating (convex) carving, circular (three-dimensional) carving, tong carving (multi-layer) and sawing through carving (single layer). The wood carving works used for architectural decoration are relatively rough, sparse and simple, often decorated with gold paint or painted paintings, with a wide range of themes, full composition, symmetrical layout, complicated knife techniques and not chaotic.
Gold lacquer wood carving Bogutu flower board (source: Jieyang City Museum)
The subject matter, technique, and placement of wood carvings are very exquisite. Usually the ancestral hall houses are mainly praying for peace and auspiciousness, many children and many blessings, and there are also scene items that reflect daily life, such as the Chaoshan people's favorite kung fu tea, crabs with unique coastal city style, etc. If you choose a dramatic theme, you must choose a happy ending. The theme of temple wood carving will choose more myths and legends. These all reflect the customs and social conditions of the coastal area, reflect the people's wishes and aesthetics, and have strong local characteristics.
Exquisite wood carvings on the beams of the antechamber of the Guandi Temple (Photo: Zheng Chufan)
Painted painting, with architecture as the canvas
Strolling through the ancient buildings of Jieyang, you may look up and turn a corner, you will fall into a magnificent dream - the pavilions on the screen depict the life of the ancients; on the door leaf, the god of culture and martial wealth looks at you with a smile; between the square inches on the beam, it is also painted with oil painted figures and auspicious patterns.
Xianqiao Guxi Chen Family Temple Screen (Photo: Lin Jiayan)
Color painting, is the decorative art of traditional wooden architecture and the protection of wood measures, often applied to liangfang, chess, ceiling, eaves truss, rafters and other parts, bright colors, gorgeous patterns, is one of the prominent features of ancient Chinese architecture.
Jieyang paintings are most often painted with gold lacquer and oil paint. The themes mainly include drama stories, character allusions, life scenes, landscape scenery, auspicious patterns, etc., praying for health and longevity, happy life, and good luck.
Gold lacquer painting
Gold lacquer painting, that is, gold and silver lacquer painting, is a traditional skill in Jieyang, together with Fujian lacquer painting and Yangzhou lacquer carving, and is known as the three major varieties of lacquer painting in China. According to records, Chaoshan gold lacquer paintings began to take shape during the Tang and Song dynasties.
Gold lacquer wood carving and gold lacquer painting are a pair of twin sisters: gold lacquer wood carving is carved on the object with gold leaf, gold lacquer painting is on the surface of the utensils primer and then sweep gold powder or mixed with silver powder, and then drawn with a special iron pen, often used to decorate building structures, screens, cabinets, furnace covers, shrines, chestnuts and other utensils. Gold lacquer wood carving and gold lacquer painting often coexist in the same space, and their combination produces a contrast between three-dimensional and flat, and the decorative effect is very prominent.
Puning Nigou Zhang Ancestral Ancestral Hall Gold Lacquer Painting (Photo: Zhang Shengjin)
Oil paintings
The door god painting in Jieyang oil painting can be described as exquisite. The painting technique of the deity statue of jieyang city god temple gate is unique, whether it is composition, character demeanor, color matching are impressive. The details of the pattern on the robe of the door god painting are extremely fine, the long hair under the jaw is slender as silk, flowing and flexible, and then there is Gong'e holding a fan, the red sun rises on the fan, the cloud mountain rises, and Gong'e looks like anger, like joy or not, and has a unique meaning.
Painting of the door god of Jieyang City God Temple (Source: Data Photo)
The paintings in the oil paintings are also very colorful. The most important thing in Chaoshan architecture is the beam in the center of the hall, and the paintings on the beams convey the wishes and prayers of the family. Painting is particularly difficult, and painters need to stand on a 5-meter-high scaffolding and paint "Bagua Dongyao" and "Descendant Yang".
Jiedong District Yunlu Town Longshang Taihua Ancestral Hall DongYi painting (Photo: Lin Bihong)
Jieyang professional folk painters are usually all-rounders, proficient in gold lacquer painting, oil painting and so on. Their teacher-inheritance relationship is clear, paying attention to the inheritance of skills and patterns, such as "Door God" and "Guo Ziyi Baishou", which are passed down from generation to generation, and gradually improved and updated with the times, thus forming a compositional characteristics and technical style that is different from other regional crafts.
Inlaid with porcelain, no fear of wind and rain
Inlaid porcelain is a decorative art based on plastic arts such as painting and sculpture, using cut pieces of porcelain to express the image through inlay. The artistic style is more realistic, with bright colors, vivid images, outstanding effects, and unique production techniques and appreciation values. The characteristics of inlaid porcelain arts and crafts that have been exposed to wind and rain and exposed to the sun without fading are not available in many other crafts.
Puning Liaoyuan Zhuang Clan Rong Ancestral Ancestral Hall roof inlaid porcelain (Photo: Zheng Chufan)
Jieyang Puning inlaid porcelain has long been famous, and it was perfected from the Qing Dynasty to the Republic of China. Puning inlaid porcelain theme selection is wide: decorated in the temple, ancestral hall, roof ridge front of the inlaid porcelain, mostly with double dragon play beads, double phoenix peony as the theme, the line is rough and powerful, the composition is majestic, the color is gorgeous, with a large dynamic effect to win; decorative ridge, cuojiao head of the inlay porcelain, mostly three-dimensional figures with civil and military crowns; the inlaid porcelain decorated on the eaves wall is mostly flowers, birds, animals, fish, shrimp, insects, etc.; the embedded porcelain decorated on the wall is commonly unicorn, lion, elephant, crane, sika deer, etc., and its composition mostly adopts the method of symmetry on both sides.
Jieyang City God Temple roof inlaid with porcelain (Photo: Zheng Chufan)
The expression methods of Puning inlaid porcelain include flat inlay, floating inlay and three-dimensional inlay. Its skills are generally divided into four steps. The first is to mold embryos, commonly known as "bound tile bones". The process originates from gray plastic, that is, the ribs and tiles are cut into the prismatic components of the object to be inlaid (the three-dimensional inlay is first tied with wire, and the mortar made of lime, brown sugar and straw paper is used to shape the prototype. The second is to cut the porcelain piece, commonly known as "cutting rao". Skilled craftsmen either throw the whole porcelain hard, or use pliers to knock it, and use pliers to process the "rao" according to the shape of the cracked porcelain piece. The third is inlaid porcelain pieces, commonly known as "Paste Rao", that is, "inlaid porcelain". The builder must have a certain shape and color foundation, and the grade and level of the work depend on this process. The fourth is comprehensive adjustment, from the overall composition, color, level, density, dynamics, modeling and other angles of consideration, repeatedly increase or decrease adjustments.
Besides
You can also find it in the buildings of Jieyang
Colorful decorations such as stone carvings and paper cuts
Jieyang people with dexterous hands
Decorated with shingle eaves
Also decorated with life and years
Production unit: Guangdong Provincial People's Government Local History Office
Source: National Human Geography of China, Jieyang
Editor: Xu Xinzhi