header
MENU

 

JIESHOU EMBROIDERY
23
/ 12 ~ 04 / 01
2008
         2009

Jieshou embroidery (from the city of Jieshou in Anhui province) belongs to the flat-stitch category of folk embroidery and is characterised by red, green and purple colours. It sometimes employs purl thread combined with silk or satin in colours including yellow, red and green. Metal flakes and gold fringing are often used to render the embroidered item even more delicate and refined.

Having developed a fondness for embroidery in childhood, Liu Lanying soon revealed a strong natural talent, and her artistry came to be prized in a class of its own. Her embroidered items have won awards of excellence at the National Folk Craft Exhibition, and in 2006 she was recognised as the Outstanding Folk Art Transmitter of the City of Fuyang.

   

 

WUHU IRON ART
23 / 12 ~ 04 / 01
2008
         2009

Wuhu iron art constitutes a unique Chinese craft with a long history. Using hammer as calligraphy brush, iron as ink and anvil as paper, the artisan’s uncanny craftsmanship brings forth works of astounding charm and grace, as wrought iron is transformed into a painting. At its zenith, iron art was renowned far and wide
for its unique nature and exquisite craftsmanship.

A fifth generation master of Wuhu iron art, Chu Jinxia had six of his major works included in the Iron Art Exhibition in the Anhui Hall of the Great Hall of the People in Beijing, among them The Welcoming Pine and Meishan Mountain Reservoir. He has also been awarded the title Outstanding Transmitter of Chinese Folk Culture.

 

 

 

PAPER CUTTING
06 ~ 18 / 01
2009

Paper cutting is one of China’s most prevalent and ancient folk arts, with a history that can be traced back to at least the 6th century. Paper cutting is frequently used in religious ceremonies and for decoration, particularly during Chinese New Year and other festivals. People in the countryside affix paper-cuttings to walls, doors, windows and other places to attract good fortune and happiness.

Wang Binghua has loved drawing and crafts since childhood. Her works blend the rugged, simple honesty of Northern Chinese paper cutting with the delicate beauty of the art’s southern form, giving rise to a unique artistic style combining Huanghai Plain and modern paper cutting techniques.

 

 

 

PHOENIX PAINTING
06 ~ 18 / 01

2009

Phoenix painting, as its name implies, involves drawing or painting the phoenix, a symbol of good luck, to solicit a blessed life. In this style of depiction, the typical colours of folk art are used while coloured lines and other techniques are assimilated from the kung pi – or ‘fine brushwork’ tradition – of classical bird painting. The resulting art form appeals to both refined and popular tastes.

During his 27-year study of phoenix painting, Zhang Weiwu has been the recipient of first-hand knowledge passed on to him by several renowned phoenix artists. His organic combination of phoenix painting with Chinese traditional painting has caused the folk culture to pulsate with new vitality. In 2006, his Rise of the Phoenix was included in the National Exhibition of Works of Intangible Cultural Heritage.

 

 

 

HUIZHOU INK
20 / 01 ~ 01 / 02
2009

China was the first country in the world to produce carbon ink, and present-day Huizhou ink is renowned for its excellent quality. Taking the form of ink sticks, Huizhou ink is produced and then sculpted through a traditional method that was included in the first inventory of intangible cultural heritage. This craft imparts to ink – one of the four treasures of the writing table – added aesthetic beauty and collectible value.

Xiang Desheng, currently Vice Chairman of the China National Artists Association, has been a lover of art since childhood. He has created many works, and his ink sticks are particularly unique among them. In 1995, he was jointly awarded the title of National Folk and Crafts Artist by UNESCO and the China Folk Artists Association.

 

 

 

CALLIGRAPHY BRUSH MAKING
2
0 / 01 ~ 01 / 02
2009

The making of calligraphy brushes employs the ‘layered method’, a method of brush making passed down through the generations that positions short interior bristles within long exterior bristles. The artistic charm of traditional calligraphy lies in the way the brushstrokes, traced on paper, express the beauty of variation between strong and soft lines and the unique aesthetic characteristics of the various forms of Chinese characters. It is a simple yet powerful charm.

Zhang Xiuyao began learning the art of calligraphy brush making at the age of fifteen. His work emphasises the combination of tradition and innovation. In 1977, he and his father established the Lintan Brush Workshop. Now renowned throughout China, the workshop also produces brushes for clients in the United States, South Korea, Japan and Southeast Asia. Zhang’s brush The Nine Dragons Playing in Ink won the 1995 National Patent and High-Tech Products Gold Prize.

 

 

 

INKSTONE CARVING
0
3 ~ 15 / 02
2009

Inkstone carving refers to the sculptural ornamentation of the platform used to hold ink when practising calligraphy. The value of each inkstone is reflected in its originality and the quality of the material from which it is made. There are many varieties of inkstones. According to the material used, they can be roughly categorised into five types: lacquer, metal, ceramic, jade and stone.

Anhui inkstone-carving artist Li Tianxi brings unique views and understanding to his She inkstones. This highly prized category is named after Shezhou County, the district in Anhui province from which inkstones originate. Li has won several art awards including the provincial culture association’s first award for folk art creations. His works are treasured and eagerly sought after by collectors and artists in China and abroad.

 

 

 

BAMBOO SCULPTURE
03 ~ 15 / 02
2009

The bamboo carving of Huizhou, in Anhui province, is an important component of China’s bamboo carving arts. In general, it can be separated into surface engraving and three-dimensional sculpture. Common items carved from bamboo include incense holders, brush holders, armrests and fans. The handiwork, delicate and refined, follows a distinctive course all its own in the history of Chinese craft art.

Ye Dingyue has engaged in bamboo sculpture for 20 years. His craftsmanship accentuates innovation, using the knife to convey emotion and flowing lines. People on a Small Bridge Over Water, Maxims by Zhu Zi and others of his works have been selected as souvenirs for UN officials.

 

 

 

MINIATURE SCULPTURE
17 / 02 ~ 01 / 03
2009

Miniature sculpture is a unique art in which the knife replaces the brush and for which perfectly minute detail is mandatory. While carving, the naked eye cannot see the object, and the artist relies on sensation and instinct to move the knife. For this reason, the art is also sometimes referred to as ‘carving with the spirit and sculpting with the mind’. Miniature sculptures combine the arts of calligraphy and painting.

Yang Qipeng began learning the art of miniature sculpture in his youth, under his father, Yang Dake. Yang Qipeng’s miniature carvings are exquisitely skilful and much sought after in China and abroad. Some of his works hold Guinness world records.

Yang Yang is the third generation of miniature sculpture artists in her family. Her works are unique in style. She is the youngest female currently engaged in miniature art.

 

 

 

COLLAGE
17 / 02 ~ 01 / 03
2009

Collage paintings are produced entirely with the hands. Beautiful in form, exquisite in craftsmanship and distinctive in style, they stand out among present-day craft works. In addition to being intended for artistic appreciation, collage works make excellent gifts for friends and family, ceremonial events or social exchanges. They also make excellent travel souvenirs.

Collage artist Chen Min has explored and studied collage for over thirty years. His works have been published in more than thirty publications in China and abroad. In 2002, he was granted the title Outstanding Expert and Scholar of National Cultural Science.

 

 

 

CLAY SCULPTURE
0
3 ~ 15 / 03
2009

In China, clay sculpture is a widely visible folk art which dates back to ancient times. Using clay as the primary material, the sculptor gives the objects form through kneading, leaving the surface plain or adorning it with colourful paint. The depicted subjects are usually animals or the human form. From the Neolithic Age, Chinese clay art has experienced unbroken development and by the Han Dynasty was already an important art form.

Li Haohua has been passionate about painting and clay sculpture since childhood. He sculpts frogs, and his infinitely varied works are almost lifelike in appearance. It is said that ‘frogs call out to Li’. His works have been exhibited on several occasions both in and outside China and have been featured in several publications. He has also published scholarly papers on the plastic arts.

 

 

 

PAPER CUTTING
0
3 ~ 15 / 03
2009

Paper cutting art is often monochromatic and employs a vast array of techniques in which the relationship of black to white and convex to concave varies. According to which aspect is prominent and which is secondary, works can be categorised as ‘paper-cut in relief’, ’paper-cut in intaglio’ or ‘mixed paper-cut’. Subject matter varies greatly, with folk culture and folk customs prominent.

In Chinese paper cutting, it was Zhang Xiuzhen who created ‘mood paper cutting’. This opened the door for the combination of traditional paper cutting with painting and sculpture. Her works have garnered outstanding honours, and she is sometimes known by the nickname ‘Skilful Chinese Woman’.

   

BACK