Shoushan stone carving is a subtraction of one stone and one color is difficult to fake

Lin Fei, a master of Chinese arts and crafts, believes that each piece of Shoushan Stone is unique and the carvings need to be personally intimate.

From August 6th to 16th, “The King of Stones – Fuzhou Shoushan Stone Carving Art Exhibition” will appear at the Ersha Island Lingnan Exhibition Hall. The works of many Shoushan Stone Carving Masters will be brought together for a wonderful appearance. Among them, there is a masterpiece of Lin Fei, a master of Chinese arts and crafts who is bold and innovative in the art of Shoushan stone carving.

Lin Fei, who was born in the stone carving family in the 1950s, not only has outstanding performance in traditional cultural subjects. In his thirties, he won the gold medal in the Chinese craft "Hundred Flowers Award" with his "Single Fishing in the Cold River"; It introduced the woman body into the Shoushan stone carving, which triggered a "chasing tide" in the industry. In this exhibition, the audience can see his true and beautiful women's work, such as "The Prostitute."

At the expense of the National Museum, the creation of a museum is a high-profile

Lin Fei can be described as the "second generation" of the national master. His father is the old master of Chinese arts and crafts master Lin Hengyun. He has long been known as "Bear" and "Underwater World" and other famous works at home and abroad. Since childhood, Lin Fei’s hands-on ability is extraordinary because of his deafness. Before he graduated from high school, he was invited to work as a master in the Shoushan Stone Carving Factory. At the age of eighteen or nineteen, his salary is already at the apex of the factory – 80 yuan a month.

However, Lin Fei always feels that his literacy is not enough. He must go to the school to further his studies. Therefore, after resuming the college entrance examination, he went to the Fujian Arts and Crafts School to study. In three years, he was eager to learn Western art theory, and the problems encountered in the practice of the factory finally got a perfect solution. After graduating, Lin Fei stayed as a teacher and understood that the traditional inheritance and development must enter the school. "The master takes the apprentice, that is peer-to-peer; the teacher teaches the students, that is the opposite. For example, there are twenty or thirty students in a class. There are always a few high-level talents, which can better inherit and develop traditional skills. It is the traditional master's way of apprenticeship, the apprentice's talent is not enough, then the good skills will be lost. Therefore, school education is very important."

For himself, Lin Fei’s requirements are even higher. In addition to the continuous study of traditional culture such as Tang poetry and Song poetry, in the 1990s, he went to the United States and San Francisco at his own expense. For no reason, he wanted to see for himself the original works that were familiar to the prints. Every ten days or so, he was basically in the museum, and studied the works of masters such as Michelangelo and Rodin. This makes his creations a high-profile, distinctive personality.

For example, his work "Worship", which is often mentioned by people, is a highly concise work. The large side pose of the 90-degree angle allows a large area of ​​white stone to be fully displayed, and a small piece of yellow carved adult head and hand at the bottom gives people a three-dimensional effect. Lin Fei, who has always been good at expressing expressions in his characters, has deliberately neglected the expressions of his characters in this work, and even can't see the face of the characters. Only one body is smashed to the ground, but the piety power contained in it is inspiring.

Lin Fei said that this stone is too special, most of it is pure white, only the local area is rich in color, how to make it beautifully carved? He has never known where to start, for more than a year, a certain day, suddenly suddenly open, think of the image of "worship", can not be good to show the characteristics of stone? "The idea is too important. There is a jargon in the stone carving industry, which is a skillful top nine work, and these must be accumulated on a regular basis."

The beauty of women and the beauty of Shoushan Stone complement each other

In the creation of women's themes of Shoushan stone carving, Lin Fei is the first to open the atmosphere.

"My father carved a panda very famous. Even if he is well carved, he can't surpass him. He can get close to his level. If someone buys it and then changes his name and replaces it with his father, it will endless. So I am from I have long since decided to go my own way." Lin Fei said.

The most self-expression he found was women. "The woman body is the most beautiful, and the Shoushan stone is also the most beautiful in the stone. The two are combined to complement each other."

The most important thing about the sculpture of a woman is the structure, proportion, line and the overall sense of the work. Traditional craftsmen generally pay little attention to the integrity and form of the work. "Creation must be promoted and generalized, and it is impossible to completely copy the reality, otherwise it will be lack of artistry. During the study at the Guangzhou Academy of Fine Arts, I once did an experiment. There is a model whose hands are particularly beautiful, and I have not turned it down. I found that the effect is exactly the same as the actual one. Therefore, art must be sublimated."

This is a wonderful performance in his works "Eve", "The Emperor's Bathing" and "Nvwa Buddhism". The most pleasing thing is that he introduced Western mythology into the traditional Shoushan stone carving of Lida and Swan. In the works, Lin Fei accurately depicts the entanglement between a winged swan and Lida. The original stone crystal clear, warm and delicate, just used to express the skin of Lida Blowing and the white wings of the swan. Lin Fei's lines of flowing water highlight the feminine beauty, while showing the swan's elegant and soft. The swan's wings are unfolding, and there are countless feathers. Each piece is heavy and has no own roots. It has its own veins and has its own texture. Between Lida and the swan, a thin and dense, a simple and complex contrast also highlights The contrast aesthetics that China has always emphasized...

When I first got this pit stone, Lin Fei discovered that the shape of the original stone was uneven, and it was flat and long, and the edges were very irregular. If the stone was polished into a regular shape, a lot of high-quality stone would be wasted. In the end, he thought of a great idea - to sculpt it into a winged swan.

Hegel pointed out in "Aesthetics": "Beauty is the emotional manifestation of the idea." "Lida and the Swan", this is the case.

The teachers and students of the Academy of Fine Arts participate in the creative process of art

Guangzhou Daily: Stone carvings and jade carvings like Shoushan Stone are included in the ranks of arts and crafts. In your opinion, should art and crafts put "work" first, or "art" more seriously?

Lin Fei: Actually, Shoushan stone carvings should belong to small sculptures. Why is it called arts and crafts? It is because of the early days of the founding of New China, China's industrial base was relatively poor, and the foundation was relatively thin. Only hand-made works could be exported, so these sculptures were classified into arts and crafts. As far as stone carving itself is concerned, artisticity is the most crucial. The craftsman's skill is easy to learn. To make the work have ideas and connotations, it depends on the individual's comprehension and creativity. At this point, art is far more important than technology.

Guangzhou Daily: Do you think that contemporary Shoushan stone carvings and other various sculptures have improved in "work" than in ancient times and even in modern times?

Lin Fei: I think that with the increase of the participation of teachers and students in the Academy of Fine Arts, the traditional crafts are becoming more and more artistic, and the previous works may be more craftsmanship.

Guangzhou Daily: But there are also many people who believe that the ancient craftsmen have no ambiguity, work hard and earnest, and the things they have made are more able to withstand the details. Unlike today’s people, although they focus on design, they may not do much in terms of excellence. enough. What do you think?

Lin Fei: This teaching has some truth, but it also has one-sidedness. Most of the ancient craftsmen were raised by the official, no need to care about the cost, no need to pay attention to economic benefits, the only goal is to do good things. Under today's market economy conditions, the demand for Shoushan stone carvings has soared, and the number of employees is large. There will definitely be some very strong capabilities. After the founding of the People's Republic of China, during the planned economy period, there were some people who engaged in Shoushan stone carving. Now there are more than 100,000 people in the whole industry. There are always people who are very high in art and very hard-working. In addition, in the past, an artist had to train his men's skills for twenty or thirty years. Now, with high technology, many details can be made more refined, and the artistic life of the creators is greatly extended. Like I have been in the year of the flower, borrowing a magnifying glass, I can still finish a piece of work from beginning to end and meticulously. This is hard to imagine in the past.

Guangzhou Daily: Are your works all in person now? Still some works are you to provide ideas, and then by the disciples to complete?

Lin Fei: One of the characteristics of Shoushan Stone is that each stone is unique and very precious. If the works are handed over to the disciples, and in some places they are not handled well, the works will be destroyed. Because stone carving is subtraction, it is not additive. If it is hit, it cannot be made up. So from design to fencing, I always do it myself.

Every piece of Shoushan Stone has life and needs to behave in accordance with the material.

Guangzhou Daily: Historically, Shoushan Stone has been the most popular seal material. What do you think is the main reason?

Lin Fei: Shoushan Stone is especially suitable for hand-carving regardless of texture, color or softness. The Tian Huang in Shoushan Stone is consistent with the yellow color of the ancient royal family, and it is from Shoushan in Fujian. The production area has both "Fu" and "Shou", which is in line with the status of the royal family. It can be seen that Shoushan Stone, as a seal stone, has both material advantages and cultural special significance.

Guangzhou Daily: Today's Shoushan stone carving, what is different from other jade carving features?

Lin Fei: A lot of jade materials are very hard, and it is very hard to engrave. Therefore, it is difficult for the workers to help them. It is difficult to fully reflect the creator's intentions. The Shoushan Stone is moderately soft and suitable for the creators. It feels very good to do it, and the work can reflect the artistic concept of the creator very well.

Guangzhou Daily: There are many kinds of Shoushan Stone. You are "with carvings and no class", or will you pay special attention to the preciousness of stone?

Lin Fei: Every piece of Shoushan Stone is alive. It can be used to create our imagination. Of course, good stone and good craftsmanship, the value of the work is extraordinary.

Guangzhou Daily: Is the quality of Shoushan Stone less and less now?

Lin Fei: Yes, it is too little. If a truly tasteful master does not use a good stone and is done by a general craftsman, it is too wasteful.

Guangzhou Daily: In the past few years, the entire art market has not been very good. Does it affect the Shoushan stone carving industry and your creation?

Lin Fei: In fact, the whole market has submerged, and the real master has been highlighted. This is the survival of the fittest. We can see that the stone masters who have artistic attainments and kung fu to get home are still too busy. Moreover, good materials can be better utilized, which will not waste resources. When everyone is on the bung, the work can be sold again and again, and many good stones are spoiled, which is a pity.

Guangzhou Daily: What do you think should be paid attention to in the Shoushan Stone Carving Collection?

Lin Fei: The collectors must strengthen their cultural cultivation and artistic appreciation ability. They can see more, ask more questions, and learn more, so that they can distinguish what is a good work. Good things are always scarce, and there is always room for appreciation. In the case of a bad market, the materials are good, the work is good, and the price is still firm.

Guangzhou Daily: There are not many fakes in Shoushan Stone Carving. How should collectors distinguish?

Lin Fei: Shoushan stone carving fraud is easy to be seen. Because a stone is a shape, it is too difficult to copy, and the artistic level of imitation is often too bad. It is useless to just copy a signature. Some collectors have collected fakes, only to say that his own ability to appreciate is too bad, and buy without learning. As long as you use your heart, the original and fake are easy to discriminate.

Introduction: Lin Fei, born in 1954 in Gushan, Fuzhou, Fuzhou. He is now a master of Chinese arts and crafts, a master of Chinese jade carving, and a national advanced craft artist. His works cover a wide range of subjects, and he is good at drawing nutrition from Chinese literary works and historical allusions. He is also good at carving "beauty" and has created a new art field of Shoushan stone carving. His works have won the first prize of the Chinese Arts and Crafts “Hundred Flowers Award”, the Chinese Gold Medal “Tiangong Cup” and many other national awards.

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