On the Combination of New-Shanghai Style Value and Traditional Sculpting Techniques

The term “new Shanghai” is increasingly favored by a new generation of people in Shanghai, such as “new Shanghai life” and “new Shanghai model”. Unlike the Shanghai life inherent in the past, Xinhai School was born in Modern, but more contemporary and developmental. The so-called new is based on the exquisite connotation refined by the Shanghai School, and it also integrates the organic unity of the times, development, and development.

The history of "Haipai Jade Carving" began in Shanghai in 1843 and it has now gone through 167 years. It has gradually formed its current spiritual connotation and can be summed up in 12 characters: Heineken, inheritance and innovation, and the pursuit of excellence. The source of the word “Haipai jade carving” refers not only to the local jade carving school in Shanghai, but also to the spirit of “Haipai”. Compared with the "Beijing School", "Yang Bang" and "Su Gang," Shanghai School has more "Haina" in thought, value, aesthetics, and taste.

However, the “New Sea School” is definitely not a new thing. It inherits the profound ideas and connotations accumulated in past history. In particular, the “New Shanghai School of Jade Carvings” has never abandoned the mixing of traditional Chinese culture, because jade is China, and it must In the time, Jade can only express Chinese aesthetics and convey the national spirit. At this point I am an absolute "nationalist."

In the thirty years of white jade carving I was engaged in, the new theme and new composition have always been the two most important features of the “New Shanghai” style I advocated. However, in the shape and carving techniques of jade, I inherited the traditional expression of the “Zaoka Brand” in the Ming Dynasty, and inherited the art pattern of Yang-engraved relief, and treated humans and objects in a realistic manner, striving to achieve Accurate in place. In particular, the use of graphic composition techniques in modern art in composition processing and the use of composition techniques in photography, as well as asymmetric and irregular styles, serve Jade's visual effects.

What I would like to emphasize in particular is that the style of “New Shanghai Style” is definitely not an art style derived from a purely regional culture. From this vocabulary to the present, the basic elements of the Shanghai School have been adopted, supplemented by a modern, contemporary and emerging element. The Shanghai Culture and the Shanghai Spirit in the New Period. Therefore, I hope that every viewer appreciates my artworks of jade carvings, and that they should not be surprised by the various changes in the subject matter. The poetic expressions that can be expressed in all traditional Chinese aesthetic viewpoints can be seen in the jade cards I create. A modern art worker, a modern literary person.

Xin Haipai jade carving concentrated poetic painting

Since we talk about the “New Sea School,” we have to mention the lifestyle derived from the “New Sea”, a cup of strong coffee in the morning, an elegant opera evening in the evening, and a quiet afternoon reading on the weekends. It is precisely the rendering of a model of the new Shanghai school.

So in the selection of themes in the past, I tried or enchanted Paramount dancers, or elegant ladies in Western-style villas, or ladies in Shikumen as the subject of the screen, highlighting the exquisite characterization of body and temperament and choosing to stay for a moment. The static image between the white jade shows a rare soft line in the plane of the white jade. The mystical style of Shanghai in the 1930s, this series of works marked me with a personal creative symbol in line with the graceful charm of an era.

I created in 2007 and was successfully auctioned in Beijing Jiade in Beijing in 2008, the "Baihua Award" gold work "lunch tea"; the other is also a 2007 work, and in the same year won the Chinese jade carving "Tiangong Award" The gold-colored work “Shang Ying” and many other themes are all expressed in the old Shanghai theme.

However, in recent years, I have also sprouted a new creative concept. Breaking the theme of jade carving is always a manifestation of the gods and Buddhas that are above and beyond, and the commemorative significance of reproducing the lives that have passed. I find that subjects that are closer to life are more easily accepted, such as the rustic atmosphere of the countryside and the natural tranquil scenery. This time I no longer use an image as the subject of expression, but try to make people blend in with the scene. With people lining with each other, I want to use physical entities to express an invisible interest, just like the rainy scene is more interesting than the sunny day.

The work "Early Spring" is a work under such conception. A Umbrella boat runs freely through the river channel of the southern town and the river is flooded. The riverside trees are full of gorgeous flowers. Fly a few muddy Chunyan. The work represents a rural scene where the water blooms and the waves wander in the spring. I use the original skin color of the raw material to create, and the color is smooth and distinct. This lays the foundation for the lightness and deep color of the flowers. Similar works that express natural scenery and pastoral scenes include "Xitang Yilu", "The Sound of Deep Falls" and so on.

Perspective Structure Breaks Jade Plate

Another major feature of the “New Shanghai Style” is the new composition. It can retain Western paintings, sculptures, and even contemporary art belonging to the category of art based on all the jade styles, themes, and even the specific cultural connotations of jade objects. Abstract art language; admitting Chinese shadows, paper-cuts, and even traditional architectural carvings that belong to the folk category; transplanting belongs to the design category of modern contrasts, echoes, and even the pure elements of the dotted line reflect “Hai Na” all-embracing.

I was fascinated with photography since my youth, carrying a black-and-white camera, walking all directions, taking portraits, taking pictures of the scenery, and rinsing it in the darkroom. I tried to make relief-like photos with exposure control. In long-lens, wide-angle lenses, optical changes violate the biological laws of imaging and cause a visual lapse. The art of video combines the aesthetics of painting with the constancy of photography. Lines, dots, blocks, chromophores and other formal elements criss-cross. In the jade carving creation after that, I tried to use the similar photographic effects of focal perspective, scattered perspective, and spatial superposition to achieve the composition of Yupai. The information of classical aestheticism and modern meaning embodied in the composition of the screen was intertwined.

I hope that when the audience appreciates my work, it is like a pair of eyes hidden behind the camera. As the lens advances, there are always details that hold the spirit of the appreciator firmly as if the perspective is deep, as if the scenery on the screen is turned. In a corner, there will be "amazing" waiting there, using the unique view of a window or corner to flaunt the protagonist's appearance. It is also the reference to the visual sense of photography that makes up for the monotony and dullness of the white jade. It is precisely this change of perspective that makes the whole picture resemble a landscape painting.

The white jade seed material I wrote in 2009, “The Phantom of the Clouds,” is a successful conversion of a sculptural perspective in recent years. The spectators seem to stand in the house and enjoy the scenery outside the house with the ancient ladies in the picture. The flute girl's looks, costumes, and backgrounds are inseparable from the solid aesthetic foundation I had laid out for many years of Western studies. Perspective has always been the customary composition techniques used in Western art and is boldly applied to jade carvings, making the painting depicting ancient times. The scenery is not significantly empty, although the sculpture is not rigid on the plane, even if I also think it is a successful innovation.

A variety of carving techniques

In the end, Shanghai Style Jade Carving is just two words in terms of craftsmanship. It is exquisite and it strives for excellence in materials, performance techniques, and creative design. The “skills” of the Haipai jade carvings are surprising. The Shanghai-based jade carvings are made of fine materials, precise and original creation and design; the exquisite carving skills are exquisite; the artistic charm is delicately conveyed; Good jade carving works should try to maintain the original characteristics of the original stone: "fine but not too clever but fine, not small craftsmen, simple and not complex."

Most of the jade cards I created use double-sided carving designs, which combine painting, calligraphy, and carving techniques. The difficulty of making the Zigang brand is also reflected in the positive character of the backside text. I also devoted a great deal of effort to the compilation, arrangement, and engraving of the fonts. The use of gentry and reform of the arts will organically combine the essence of calligraphy and jade carving. I particularly emphasize the handwriting sense of carving calligraphy, which is rather interesting and lively. On the other hand, some jade calligraphy carvings are absolutely neat and lacking vitality. It is regrettable that life and life cut off the charm.

I deeply feel that the jade carving work must be promoted to the extreme, and simply relying on imitation is absolutely impossible to achieve such a realm. I try to describe the simple but characterization of the atmosphere, often with high relief, bas-relief, and intaglio, yang and other different combinations of skills, showing the work of the hard and soft, depth and mutual reflection of the sense of space and hierarchy.

He won the “Lu Zi”, a silver medal for the Chinese Jade & Flower Awards in 2008. This is a natural, full-leaf Jade material. The jade is finely oiled with a rich variety of colors. At the time of creation, I boldly applied the common expression techniques of modern art in composition and retained large blocks of color. On the positive side, two stereoscopic wide-band raw skins were left on the front, and a beautiful woman in the middle was hidden behind the flower branches. Although the figure is carved behind, there is an effect of "still holding a half-covered face." Carved branches on both sides of the board do the lining. On the back, three stereoscopic belts were used. The technique of embossing was used to engrave the flowers in the middle. The branches were engraved on both sides and a poem was engraved on both sides. The simple and generous picture of the entire board, jade and skin color set off each other, showing a contrasting effect. A staggering effect of people, trees and flowers. It also seems to be filled with fragrant flowers.

With the prosperity of the jade market, the price of jade materials is also rising wildly. It is also very challenging to use expensive white jade raw materials to design and create new themes and new things that have never been done before. There are several breakthroughs in the jade brand innovation. The first is the “New Sea School Jade Card”, which generally follows the form and forms the content service, which is more conducive to the expression of profound themes. The second is to modern characters, modern architecture and modern life, including Shikumen, bungalows, pianos, Fife, the country's aunt, boat mothers, etc. are carved into the jade, innovation, and traditional jade brand life flavor. The third is the introduction of a variety of combinations of carving techniques. From the point of view of creation, the art of stone "dig" and "deep excavation" not only enriches the content of Yupai's performance, but also makes Yupai more aesthetically pleasing. New Shanghai style jade card "style.