Yang Zhuozhong, the inheritor of Duan yan's production skills, is in the process of creating. Nanfang Daily reporter Zhang Youqiong photographed
Cheng Wen's work "Danfeng Chaoyang". Photo by correspondent Wen Mu
Cheng Wen's work "Eight Immortals Noisy Sea". Photo by correspondent Wen Mu
Duan Yan
Intangible Cultural Heritage Encyclopedia
Duan Yan production technology National Intangible Cultural Heritage
Duan Yan, also known as Duan Xi Yan, is one of the "Four Famous Yans" in China, named after the Duanzhou prefecture in Zhaoqing. Qing Dynasty calligrapher Chen Ling summed up the "Eight Virtues" of Duanyan Shuiyan: gentle and tender, delicate and clean. There are eight kinds of "virtues" that are considered to be a treasure that can be encountered but not sought.
The stone is tender and moist
There is a poem cloud: "Cut the blue and purple jade like a circle, several times to operate the day to drive the west; once the god king whisked his sleeves away, so far the soul dreams around the Duanxi." "In Duanzhou, there are two main sources of stone: the area around Axe Ke Mountain east of Antelope Gorge and the area around Beiling Mountain behind Qixing Rock.
Both places have good mountains and rivers, beautiful scenery, and the poet also lingers for it: "If you want to find the axe KeXian, you are tired of being trapped for a long time; when you return to the forest, you sit for a long time, and the crows return to know what is alone." ”
The beautiful landscape gave birth to young and moist stones, and after making the yantai, the ink hall was delicate, the ink was not dried up, and the pen was not damaged. Qing Dynasty calligrapher Chen Ling summed up the "Eight Virtues" of Duanyan Shuiyan: gentle and tender, delicate and clean. There are eight kinds of "virtues" that are considered to be a treasure that can be encountered but not sought.
It has been widely popular since the advent of the Tang Dynasty
Duan Yan with its unique advantages, since the advent of the Tang Dynasty has been widely popular, Tang Li Zhao recorded: "Duanxi purple stone stone, the world is not noble and cheap common..." At that time, Duan Yan was still based on practical functions, storing more ink, simple style, and elegant shape.
In the Song Dynasty, the value of practicality and appreciation was equally important. The scribe was the mainstream brick shape at that time, evolved from the Tang Dynasty Ji-shaped brick, the bottom of the brick was hollowed out, and the feet were like a wall, which was named because it could be copied by hand. It is generous and dignified in shape, exquisite in pattern, and has high aesthetic value. Today, Duan Yan has become a collection treasure passed down from generation to generation.
"Because of the stone structure" craftsmen painstakingly
The advent of a piece of duan yan has to go through a long journey, and the road to the success of a carver is also long and difficult. Quarrying, material selection, stacking, design, carving, boxing, polishing, inking... The quarry scene is thrilling, Su Shiyun: "A thousand husbands and a hundred men, a centurion, a campfire under the silk, in order to get out of Si Zhen." "Because of the high requirements of stone formation", craftsmen need to pour a lot of effort into design when designing; the difficulty of "irreparable" requires craftsmen to be cautious at every step.
In 2006, "Duanyan Production Technique" was included in the first batch of national intangible cultural heritage representative project list, Duanyan became more and more eye-catching, and its collection value, artistic value, cultural value and economic value became increasingly prominent. At the moment when traditional culture returns to the historical stage, Duanyan will surely shine in the trend of the times and show new charm.
Inheritance
Yantian cultivates hard, and the carving is like a god
Cheng Wen: Ingenuity is seen in ingenuity
Cheng Wen, the national representative inheritor of the intangible cultural heritage Duanyan production technology project, the thirteenth generation of Cheng's Duanyan technology, was the director of The Duanyan Factory in Zhaoqing City and the director of the Duanyan Research Institute.
The Cheng family has been making bricks for generations, and Cheng Wen grew up in the brick making workshop from a young age and officially began to learn to make bricks at the age of twelve. From quarrying to blank making, he learned every step of the process of making bricks in a down-to-earth manner and laid a solid foundation.
Cheng Wen is good at integrating innovation. Technically, he creatively added the techniques of gray carving, wood carving and brick carving in the brick-making process, and the temple ancestral hall and the ancient wall bricks and tiles have become the artistic elements he refers to when carving. He often acted spontaneously when carving, using a freehand knife technique to carve out freehand shapes.
In terms of themes, he broke through the inherent historical themes and portrayed the landscape of his hometown Zhaoqing on Duan yan. Under his carving knife, the water flowed rapidly, violently, and full of vitality. In the work "Wave - Rising Sun East Rising Stone" that won the special gold medal of the 6th China Arts and Crafts Masters Exposition, a round of rising sun was surrounded by churning waves, and the main body of the rising sun was the Yantang used to study ink, and when the ink was loaded, it became the "Ink Pool Tenglang Diagram", which was quite innovative. Cheng Wen said: "The living are more flexible, and the inanimate must also make the feeling of life, which is the art of Yan." ”
Under the aura of having long been famous overseas, he still regards himself as an ordinary "stonemason artist", immersed in the world of brick-making, one stone in January, one heart and one mind.
Cheng Wen hoped that the production process of Duan Yan could be carried forward, so he recruited disciples widely, creating a precedent for the opening of the Duan Yan circle in Zhaoqing City, and now his disciples have reached hundreds. The fragrance of peach and plum is all over the world, the hard work of Yantian has seen ingenuity, and the craftsmanship of Duan yan can continue to develop today, which is inseparable from the masters who teach hard like Cheng Wen.
Yang Zhuozhong: Pondering and pondering, the unity of heaven and man
Yang Zhuozhong, the twelfth generation of Yang's Yan making, Guangdong Province's "Vitality Intangible Cultural Heritage" 2013 Top Ten Tribute Figures, Guangdong Provincial Arts and Crafts Master, Senior Arts and Crafts Artist, Senior Technician, in 2018 was selected as the national representative inheritor of the Intangible Cultural Heritage Duan Yan Production Technology Project.
Yang Zhuozhong's love for Duan Yan began with his childhood experience of following his father to the Stone Cave. At that time, he explored around the cave, watching the adults carving stones, and he also took the discarded stone and followed it. After hearing this, he gradually fell in love with carving Duan Yan. So after graduating from high school, he officially studied art with his teacher and became the twelfth generation of Yang's Yan.
In the long-term carving practice, Yang Zhuozhong has summed up a unique set of Yang's knife methods, called "oblique knife carving technique", which can make the blade run flexibly and freely, the carved lines are smooth and thick, and the pattern is concave and convex, more vivid.
In terms of artistic pursuit, Yang Zhuozhong concluded: "Because of the composition of the stone, the art of the material, the unity of heaven and man, this is the creative realm I pursue. "Handwork is a bridge between the stone and the heart, and a good design can maximize the texture and texture of the stone, and excessive carving will destroy the original texture of the stone." Yang Zhuozhong's proud work "Stepping on Snow and Looking for Plums" uses the natural "floating cloud jelly" pattern of the stone to design a scene of heavy snow, supplemented by a few cold plums standing proudly, symbolizing the meaning of Ling Frost and proud snow. The whole work is completely natural, reaching the realm of Yang Zhuozhong's ideal of "the unity of heaven and man".
Yang Zhuozhong is also good at carving historical stories with Duan Yan, and he believes that carving Duan Yan needs humanistic connotations, and it needs to be careful. One of his masterpieces, "Midnight Bell to the Passenger Ship", uses the original arc-shaped fire on the stone as a bridge, and uses the pig liver jelly raised in the center of the Duantang as a passenger ship, slightly carved, making people feel like a night-time anchorage.
At the 2013 "Vitality Intangible Cultural Heritage" summit forum, Yang Zhuozhong talked about the "humanistic fault" issue that he was most concerned about. Brick making requires a wealth of knowledge, history painting, calligraphy and gold stones, all indispensable. The top priority of the brick-making artists is to improve the connotation and cultivate the quality. Now he actively participates in teaching activities and teaches Duan Yan skills in the beginning of classes, hoping that more people will carry forward the knowledge and skills of Duan Yan in the future.
Luo Jianquan: Entering the yan with humanistic feelings
Luo Jianquan, master of arts and crafts in Guangdong Province, representative inheritor of the intangible cultural heritage Duan Yan production technology project at the provincial level, senior technician, senior arts and crafts artist, the sixteenth generation of Luo Shi Yan carving family.
Luo Jianquan was born in the Duanyan family, studied under his grandfather Luo Jianpei and father Luo Hai, inherited the family's character carving skills, took "Humanistic Yan" as his main direction of attack, and was good at drawing nutrients from traditional culture and classic masterpieces, paying special attention to the integration of history, literature and calligraphy.
Not every piece of the raw material of Duanyan is of good quality, and the "flaws" of the stone are also the source of inspiration for Luo Jianquan's design. He is good at using classical culture as a basis, combining the characteristics of stone for design, so as to achieve humanities, natural work, art and perfection, and achieve the artistic realm of "great pu no carving, ethereal and pleasant".
In the work "Generation of Marquis", the natural stone eyes on the stone are designed by Luo Jianquan as the eyes of monkeys, and the carvings of monkeys are so fine that they appear to the point of being vivid, and the lively and agile monkeys come to life. Yantang has become the pocket in the hands of monkey monkey Sun, which fits the meaning of "generation of feudal marquises" and is a vivid interpretation of classical imagery.
As the sixteenth generation of the Luo Family of Carvings, Luo Jianquan takes it as his mission to inherit the skills of Duan Yan. He said that in order to protect Duan Yan and protect the essence of the country, he would definitely collect disciples widely, not only to pass on the Luo family's family sword method, but also to polish the business card of Duan Yan's production skills.
Written by: Nandu reporter Zhou Peiwen Correspondent Wen Mu