White-walled roof tiles, pavilions;
Huifeng hechang, Maolin Xiuzhu;
Bounty stone charm, listen to the family style.
Wang Zuguang Art Museum, No. 53 Wenrufang, Sanfang Seven Lanes, is quiet and elegant under the modern history and culture of bluestone white walls.
In the afternoon, the warm sun of early winter shines through the leaves, suddenly bright, suddenly dark, very bright, very warm. Through the gaps in the layers of leaves, a little fragment is leaked, gentle and light. Strolling through the Wang Zuguang Art Museum, at this time, a glimmer of light came into view, and the fresh glimpse like the morning sun instantly hit the heart. This is exactly the Guanyin work carved by the Chinese arts and crafts master Wang Zuguang.
Guanyin, which came from the Clouds of The West, was in the air, through the hand of the carver, and was only seen by people's eyes. Throughout the ages, there have been thousands of people who have carved Guanyin. Turning over the long scrolls of history, the image of Guanyin in various forms created in the process has become an important part of China's splendid culture and an artistic force that affects the spiritual life of mankind.
How beautiful is the Guanyin carved by Wang Zuguang, the "King of Guanyin"? The world describes it like this: the tranquility of beauty, the solemnity of beauty, the autumn chrysanthemums of Glory, the spring pine of Huamao, and like the moon caged by clouds, like the snow returning to the wind, if the sun rises in the sun, if the moon is covered by light clouds. Every move, every smile. From a blooming lotus flower to a flowing robe, from the crown on the head, the expression in the eyebrows, to the charm on the body, through his carving, the image of Guanyin jumped out.
By Chinese arts and crafts master Wang Zuguang
Wang Zuguang said: "According to Buddhism, Guanyin's face should be like a full moon, but now artists have more beautiful guanyin. He struggled to find expressions other than these two tendencies, so he drew on the strengths of all and finally got his wish. Wang Zuguang's image of Guanyin is derived from the female figure in her thirties, an idealized young mother.
He created Guanyin: the face is slightly elongated, the bridge of the nose is high and bulging, like a mountain like a hill; the eyes and eyebrows are like a ravine like a river; the eyes are slightly closed, both beautiful and compassionate, and life is born. On its shape, it can be described as a variety of forms, including Tang-style Guanyin, Song-style Guanyin, Vertical Guanyin, Holding Sutra Guanyin, Ruyi Guanyin, Sending Son Guanyin, Bamboo Forest Guanyin and so on. The dynamic in the shape, with the help of curved fingers, fluttering clothing belts, or the echo of ancient beasts, the interlaced flow of lines and space makes the three-dimensional mixed elements on the picture, and the appearance of Guanyin becomes more and more beautiful and fairy.
In terms of carving techniques, he chose the oldest and most basic carving technique of Shoushan stone carving, which is also the caretaker technique of the "Dongmen Sect" - round carving; in the choice of stone, he loves the psychic, white and flawless alpine lychee frozen stone, hoping to express the connotation of Guanyin ice crystal jade to the fullest.
Someone said: "Wang Zuguang carved Guanyin, you don't need to look at the falling money, you know whether he carved it." "The image of Guanyin carved by Wang Zuguang is an expression of emotional pluralistic values, he studied the image of Guanyin in porcelain, woodcuts, bronze sculptures, paintings, and grottoes, integrating the different characteristics of Guanyin of the Tang, Song, Yuan, Ming and Qing dynasties, and in continuous exploration and practice, he derived and innovated unusual Guanyin images. Long and graceful, with an infinite yearning for beauty, laid the foundation for the oriental aesthetic of his personal symbols, and opened a new era of carving the image of Guanyin.
In the summer of the afternoon, a stone art family in Fuzhou Chating Street ushered in a cry, and when the dawn broke, his father named it "Zu Guang". The name Wang Zuguang later became the familiar "Guanyin King". Regarding the reputation of "Guanyin King", Master Zuguang ridiculed: "My surname is Wang, and I am good at carving Guanyin, so I am called Guanyin King." "At the age of 80, he is still funny and cute, full of innocence.
Born in the Shiyi family, under the artistic cultivation of the master Lin Youchen at a young age, he gave birth to his profound artistic accomplishment, because he was intelligent and studious, had a superior memory, stole the teacher to learn art, and won the praise of the open-minded Lin Bingsheng. The famous artist Zhou Baoting also enthusiastically guided him, gathering the strengths of each family in the accumulation of time, perfect skills, and ingenious work.
Recalling the long artistic career, there are several important events that can be recorded in the annals of history, from 1968 to 1972, the sculpture work of the giant statue of Chairman Mao in Wuyi Square in Fuzhou lasted several years, which was a very glorious and arduous huge project, the famous sculptors in the province were mobilized together, among the many industry leaders, Wang Zuguang was a relatively young one.
Chinese arts and crafts master Wang Zuguang carved his largest statue of Guanyin
In terms of enterprise management, Wang Zuguang has quite courage and foresight. In 1980, Fuzhou Stone Carving Factory, Wood Carving Factory and Ivory Carving Factory merged to form Fuzhou Carving Factory. In the face of the crisis of reform, he resolutely took on the heavy responsibility of factory director, reformed and innovated from the aspects of technology and talent management and market development, and soon managed the Fuzhou Stone Carving Factory with sound and color. He concentrated limited funds to acquire many high-quality Shoushan stones at high prices.
He personally designed each stone, selected the subject matter, distributed it to artists who were good at this theme, and often guided the carving process, making the creation of each work a great success. For example, Lin Shouyan's "Tian Huang BoYi Three-Piece Set" and Zhou Baoting's "Twenty-Eight Ancient Beast Seal Buttons" were born under this circumstance, and both of these works won the "Golden Cup Award" of the National Arts and Crafts Hundred Flowers Award.
It not only left a legacy work for the Shoushan stone carving industry, but also wrote a brilliant chapter in the history of Shoushan stone carving. On the other hand, he strives to contact foreign trade and foreign businessmen, so that Shoushan Shi can go abroad and go to the world. In 1984, he went to Singapore to hold the "First Shoushan Stone Sculpture Art Exhibition", which caused a sensation in the Lion City, and the most influential local "Lianhe Zaobao" followed the report every day with the title of "The Emperor of Stone Under the South Sea", and the exhibition was a great success.
Master of Chinese Arts and Crafts Wang Zuguang
Wang Zuguang Art Museum
In awe, he pushed open the door of the art museum, fearing that he would disturb the owner prematurely; unexpectedly, when he stepped into the door, there was a neat and powerful echo of "sonorous" sound. Approaching, it was Master Wang Zuguang who was studying. Such a scene is probably not easy to encounter, only to see his right hand evenly and powerfully swing a weight is not light to beat the chisel, each hammer, and each knife is natural and accurate and clear. Several times back and forth, on this huge stone, the external contours and overall layout of Guanyin gradually appeared.
Out of curiosity, he asked the teacher, how heavy is this stone? He calmly replied: "more than 100 pounds", like this age, all rely on hand strength and physical strength to control the direction and position of this boulder at any time, decades of skill can be described as pure fire.
After carving a handful of hours, I picked up the teacup for a short rest. However, in ten minutes, he picked up the carving knife again, put on the apron, and returned to his original state. "If you don't carve, how can you do that?" As a sculptor, you have to insist on carving every day" Speaking of this, Master Zu Guang's tone is still sonorous and powerful. For nearly 70 years, Master Zu Guang has been working hard and has never returned to the art of carving, and has been able to refine the traditional knife technique concisely, forming his own unique artistic style, which is still difficult to surpass.
Lonely in silence, refining the heart in glitz. Wuhua Haohao's ingenuity and Wang Zuguang's sculpture of Guanyin are a dialogue between life and life, and it is also the realm of life that is perfect and perfect.
The world wants to live forever, and the years seem to be particularly fond of him, and his appearance looks much younger than his actual age. He is a man of temperament, blindly looking for pleasure in art, all of which is like the understanding of meditation, and his state of mind is clear. However, the carving continues, carving the appearance, the eyes, the smile of the moment. The Guanyin statue, which respects more than 100 kilograms, is also the largest Guanyin work at present, which is the expectation of a year later.
Sculptor, pure and focused. Carving everything in the world, but also carving human stories.
As if between heaven and earth, the way the world is, what we look like, every moment is a carving;
Right here at the moment,.......
Wang Zuguang Profile
Wang Zuguang, born in 1942 in Fuzhou, Fujian Province, learned to make bricks with his father Wang Naiyuan since childhood. He has successively studied under the Shoushan Stone "Dongmen Sect" carving masters Lin Youqing and Zhou Baoting, and is good at carving characters, button heads, and ancient beasts, and has deeply studied Guanyin statues.
Now he is: Master of Chinese Arts and Crafts, Master of Chinese Jade Carving, Folk Artist of Fujian Province, Special Famous Artist of Arts and Crafts of Fuzhou City, Senior Arts and Crafts Artist. He was formerly the president of the Stone Sculpture Professional Committee of the China Arts and Crafts Society, an advisor to the Taiwan China Printing Stone Art Collection Association, and the director of the editorial board of Fujian Shoushan Stone Chronicle.