"Since embarking on the road of inheriting traditional mahogany furniture, it is necessary to maximize the tradition." As President of Suzhou Furniture Association and Director of Su Zuo Mahogany Furniture Professional Committee, this is not only Gu Zhihao's requirement for himself, but also Expectations for Suzhou counterparts. Speaking of Su Zuo furniture, probably the first thing many people think of is the Ming-style furniture with simple lines and beautiful shapes. However, Gu Zhihao's mahogany furniture is another style-Su Zuojing style. Compared with the clear and elegant Ming-style furniture, the bas-relief of Beijing-style furniture and the interlocking auspicious patterns are full of atmosphere. In the unique and simple form of Founder, it conveys a moderate harmony that is natural and gives people A transcendent, simple and elegant aesthetic enjoyment.
Why do you love the production of Beijing-style mahogany furniture? "If I say that my father's influence was a guide to my hobbies when I was a child. After entering the industry, I was more attracted to the gorgeous palace temperament and visual shock of Beijing-style furniture." Gu Zhihao said that in 2002, he was lucky Passed the assessment of the expert group of the Palace Museum, and accepted the order for the Palace Museum to imitate a batch of court furniture during the Qianlong period. After a special approval, Gu Zhihao and his younger brother had the opportunity to enter the Treasury of the Palace Museum for proofing, to expand the pattern from the precious cultural relics, and to master many precious first-hand traditional pattern materials of the palace furniture. Today, more than 70% of Gu Zhihao's works are made entirely in proportion to the ancient system, hand-carved, without a nail, a complete tenon-and-mortise structure, the delicate and precise craftsmanship of Su Zuo and the design of Beijing style furniture are perfectly combined to the extreme .
Cao Hairong: the contemporary taste of Su Zuo furniture
Cao Hairong, 59, is from Shangfu Village, Guangfu Kiln. He studied Chinese flower and bird painting with Zhang Jixin when he was in junior high school. Since then, he has cultivated a solid foundation in painting design. In 1975, Cao Hairong entered the design room of Suzhou Redwood Carving Factory, and was soon scheduled to go to Nanjing Forestry University for further study. Less than a year later, he returned to Suzhou Redwood Carving Factory to specialize in the design of redwood furniture.
"It takes many years to learn the making of mahogany furniture. Because of its exquisite production and high craftsmanship, not only must we be familiar with traditional patterns and patterns, but also have some patience, and the production works are all handmade." In Cao Hairong's view, Such things as craftsmanship still have to rely on his own understanding and groping. His knowledge of furniture is gradually improving. With the deepening of his liking, many things have settled in his heart.
Later, he decided to set up his own factory, design and manage himself, and devote himself to Su Zuo furniture. The current Ming-style furniture seems to be more in line with the modern people's aesthetic concepts and life needs. Therefore, he gradually focused on the research and design of Ming-style furniture.
"The Ming-style furniture pursues a simple and crisp style, the structure is relatively firm, and it conforms to the overall function. And the furniture surface, arc position, and round position have a roundness and smoothness, which is very decent and beautiful." Cao Hairong told reporters that the design can be described as Ming style The first process of making furniture depends on the designer's experience and accomplishment. The manufacturing process of Suzhou Ming-style furniture has the characteristics of “rigorous structure, smooth lines, excellent skills, bright lacquerâ€, etc. It is unique with its distinctive artistic style and local characteristics, and has rich cultural value.
In Cao Hairong's view, the root of Su Zuo furniture can be found only from the tradition. The inheritance skills of Ming-style furniture are mainly research on structural modeling. The key is how you display, make and apply these existing structures. On this basis, some modern elements are incorporated to give the furniture new vitality.
Zhong Jinde: Mahogany carving technology faces new challenges
Mahogany carving is a carving art that has been handed down to a certain form, material and technique in the folk cultural heritage of China. Mahogany carvings have various forms of creation, and are classified according to carving techniques and expression techniques. There are more than ten kinds of round carvings, high reliefs, reliefs, thin carvings, deep through carvings, carvings, thread carvings, Yin carvings, inlays, etc. Needs can be combined. The mahogany carvings in Suzhou area are beautiful in shape, uniform in appearance, fine in workmanship, bright in lacquer, condensed in shape and vivid in style.
"Historical Origins of the Soviet Union as wood carving arts skills when heritage dating back to the late Tang Dynasty, the Ming and Qing, Su mahogany carving production for more excellence, now carved mahogany furnishings in the Suzhou gardens, many of which are relics of the Qing Dynasty." Zhong Jinde, a master of arts and crafts, said that Guangfu is the hometown of carvings known as "Xiangshan artisans", and the main concentration of rosewood carvings. Since the reform and opening up, enterprises represented by Suzhou Redwood Carving Factory, Wuxian Carving Factory and Guangfu Carving Factory have trained a large number of new generation of redwood carving technicians and made outstanding contributions to the protection and development of redwood carving.
According to reports, the craftsmanship of mahogany carving has been inherited in the form of handed down from generation to generation or teacher apprenticeship for centuries. It incorporates the essence of various wood carving techniques, and has a set of basic elements and operating characteristics that must be possessed by a complete creation. These techniques not only have a folk simplicity, but also have their own philosophical perspective. Whether from the perspective of technical process or from an aesthetic point of view, mahogany carving techniques have quite complete rules.
Zhong Jinde said that Su Zuo's mahogany carving skills were identified as the second batch of representative intangible cultural heritage in Wuzhong District in 2009. With the continuous acceleration of economic globalization and social modernization, the survival, protection and development of Su Zuo's mahogany carving encountered Many new problems, how to protect the inheritance and development of mahogany carving skills is a new challenge we face.
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