From large wooden construction to small wooden furniture

The building is made of large wood and the furniture is made of small wood. The excellent craftsmanship of Xianzuo furniture is inseparable from the tradition of architectural woodwork inherited from ancient times. The cultural beliefs of the Mazu ancestors of the Puxian people have also brought prosperity in the construction of temples and temples. Pursuing the origin of Xianzuo craftsmanship, we found that architectural woodwork is the basis for Xianzuo furniture and small woodwork, and furniture and small woodwork brought a new round of prosperity.

From large wooden construction to small wooden furniture

It can be said that Xianyou's existing art scene is based on the time, geographical conditions, people and harmony, and there is a complementary atmosphere. After going through an academic organization, it is ready to come out.

Speaking from history

As the saying goes, "the mountains have water and the spirit, the water rises with the mountains". An art genre is never isolated, it cannot be separated from the historical environment. In fact, immortal works are also rooted in Mazu culture, and then penetrate, blend and sublime.

It can be seen from the history that the Mazu Temple in Putian is an important part of China's excellent cultural and artistic treasure house, and also has the original art of immortality. In the Yuan Dynasty, the Mazuzu Temple was further expanded. Hong Xiwen's poem "The Palace of St. Dunton" depicts the scene of "Pink Wall Dan Zhuhui Covered, Hua Biao Rushing Through the Flying Mountains", reflecting the architectural situation of the Mazu Temple. In the Ming Dynasty, the Mazuzu Temple was further expanded. After the Qing Emperor Qianlong, the Meizu Mazu Temple in Meizhou was quite large and became a majestic building complex with 99 rooms, known as the “Sea Dragon Palace”. In 1978, the spring and rain of China's land turned rain and everything recovered. Lin Congzhi and others led the folks to start the reconstruction of Mazu Temple in Meizhou. Now, the Mazu ancestral temple in Meizhou has formed a large-scale, majestic, pavilion-staggered, ancestral temple complex. The construction of the Mazu temple was made of large wood, and a number of skilled craftsmen were cultivated. They basically undertook the carving work of ancestral halls, temples and other folk buildings throughout the southern Fujian area.

In addition, Xianyou's furniture manufacturing skills can be traced back to the Northern Song Dynasty, the first in the Northern Song Dynasty court furniture production. The Northern Song Dynasty teacher Cai Jing integrated traditional wood carving art into the palace furniture, and the Taishi chair (large circle chair) also came from this. Many skilled folk sculpture artists also began to have a certain influence.

The carving art that began in this period has thus reached a highly mature stage, forming a unique artistic style. Its simple and elegant color, exquisite and rounded production process are deeply loved by collectors. After this, the carving art has regained its vitality, inheriting the traditional craftsmanship, and carrying forward the traditional national art has become an important historical mission. At this point, the creative style of wood carvings and classical furniture has been constantly moving forward on the historical track.

Art returns to ontology

Xianyou retains a lot of traditional things in art and culture, and based on academics is the keynote of Xianzuo. Ming Hongtang Cai Chaozhong believes that fairy works have shaped the artistic characteristics of "product, craftsmanship, talent, intention, and environment". To some extent, this has become a new symbol of classical furniture art.

On the basis of history, artistic creation is at the right time, and even a good situation of "three generations singing on the same stage" has appeared. A group of creators who are full of confidence in their own cultural identity have begun to gather, drawing on traditions, striving for broadness and forming a new charm. In the early days, it was mainly reflected in crafts. Most of the content subjects represent the characters in Chinese folk myths and legends, such as the Eight Immortals, Shou Xing, Guan Gong, Maitreya Buddha, and Guanyin. After this, began to explore the journey of classical furniture. Although the craftsmanship of each craftsman is different, from the selection of materials to craftsmanship, from the shaping of objects to the establishment of emotional expression, all have reached the artistic level. Old artists such as Huang Chungao and You Liangzhao carried forward the traditional crafts of immortality, while contemporary masters such as Lin Qingcai and Lin Hongying inherited the traditional style and continually tried new art paths, and then innovated, breaking through the traditional carving methods, using carving and relief , Carving and other techniques. You Liangzhao's "Qingdao Red Sandalwood Moon Cave Door Cover Canopy Bed", Lin Qingcai's Wood Carving Works "Xiandao", "Chang'e Flying to the Moon" ... All works, whether they are wood carving crafts or classical furniture, are carefully carved , The shape is feminine and dexterous, which embodies the artistic essence of Xian Zuo. This group of artists, with their ingenuity, high aesthetics and unique artistic conception, examines the image and seeks shape, and creates artistic works with vivid shapes and vivid charm.

Obviously, in the trend of contemporary art, Xianyou classical craft furniture is an ingenious fusion of traditional Chinese painting art, carving art and furniture production skills. Its spiritual temperament and charm are coming out, and it is finally able to be self-intention and self-improvement in the imitation and imitation. The law is unique and well-known, and is highly respected and appreciated by artists, critics and collectors everywhere.

Contemporary event

The market is a force that cannot be ignored. Since 2006, Xianyou has gradually developed into an active mahogany furniture center. Although it was only a short two-year period from 2007 to 2009, the external environment of Chinese contemporary art is very different, and its appeal is increasing day by day.

When we mention fairy tales, there is a person who plays a decisive role, which is particularly worth mentioning. Because he conducted a certain systematic research on the theory of Xianzuo, which directly promoted its development, this person is He Jinchi, chairman of the Xianyou County CPPCC. As the banner character of Xianzuo, he has the original intention of promoting the development of China's contemporary classical furniture industry and improving the cultural taste of Xianyou. The unprecedented series of amazing actions has laid a certain historical position for Xian Zuo. At present, the government is doing its utmost to promote the construction process of China Classical Craft Furniture Expo City. At the end of April, the No. 1 building will be completed and put into use.

Classical furniture companies provide vivid and rich realistic context for Xianzuo. In 2010, there were more than 2,600 arts and crafts enterprises of various types in the county. The number of arts and crafts industry-scale enterprises increased to 78, with more than 100,000 employees and nearly 1,000 professionals of various arts and crafts. This year, most furniture companies practice their internal skills, upgrade and transform, and are committed to improving craftsmanship and brand building. They go hand in hand, creating an extraordinary fairy-making event, and also pushing this dynamic classic furniture country to a new level and height.

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