"Six songs are connected to the green curtains, and the high-rise building wakes up in the middle of the night. Cover the lights and cover the fog so that the rain falls and the moon is bright. ”

In Chinese style, one of the most common and indispensable elements is the Chinese lattice. The hollow flower pane integrates lighting and ventilation, scenery and painting, and decoration and beautification, and the rich patterns taste the elegant humanistic taste.

The set of square brocade lattice is a group of four 90 ° right angles set in a square of four corners to form a group of large and small square overlapping patterns, it is different from Fang Sheng is that the set of square brocade is a square set of squares, Fang Sheng is a diamond set of coriander shape.

The lattice pattern of the square brocade style has the auspicious richness contained in the square, cross, octagonal and other patterns. From the perspective of modern life needs, on the basis of traditional Chinese door and window craftsmanship, the new Chinese style windows are simplified, and the oriental elements and Chinese style are integrated into the building doors and windows and the comfortable and elegant living atmosphere.

The shape of the "well" lattice pattern corresponds to the constellation in the sky, which was called the first of the 28 constellations in the south. People choose the tic-tac-toe pattern as the door and window lattice, which is another representation of the correspondence between the building and the well, which contributes to the stars in the sky and is an auspicious symbol.

The tic-tac-toe lattice pattern of doors and windows is used as an ornamental pattern and regular geometric pattern of doors and windows, and at the same time it is a kind of pictographic text pattern and well bar pattern. Because the tic-tac-toe pattern has a pictorial effect, rich connotation, and a symbol of fire prevention, it is chosen to be used as a decorative pattern on the doors and windows of the building.

The straight-grained lattice center stands on the window with its vertical line shape that does not bend or oblique, which will give people a quaint feeling. It symbolizes the integrity of the owner of the building, and it symbolizes that when everyone is watching the outside, any hidden things will be discovered, so that the owner will not be deceived by anything, and will not suffer losses, and be safe.

The straight-grained lattice can also avoid direct sunlight on the premise of playing a decorative role, allowing people to enjoy the soft sunlight to the fullest.

The pattern of three crosses and six checkered flowers represents the highest level of China's feudal level, symbolizes the orthodox state power, connotates heaven and earth, and is a symbol of all things born at the intersection of heaven and earth. The doors and windows of the three-crossed six-fold rhombic pattern are used on the doors and windows of the imperial palace or on the doors and windows of the temple representing the theocracy.

This pattern is to form countless equilateral triangles after the intersection of the mullion and the mullion, and each group of triangles has six petals of diamond flowers, so that the intersection of the triangles becomes a six-petal diamond flower, and the middle of the triangle is round.

And the mullions and the mullions intersect into the shape of a large angle of 60 ° and a small angle of 30, and the whole drawing forms a kind of diamond flower brocade diagram with a solid diamond flower and a round hole as a void. It gives people the feeling that it is not only a regular geometric brocade, but also a regular pictographic pattern brocade. Geometric patterns are used as expressions of clarity, while pictographic patterns have dynamic connotations.

The doors and windows on the imperial palace building are decorated with three crosses and six rhombic flowers with a pattern of lattice flowers, symbolizing that in front of the emperor is a grand scene where heaven and earth intersect, all things grow, a piece of vitality, the country and the people are safe, and the future is bright.

The doors and windows on the temple building are decorated with the lintel of the pattern of three and six trees, which means that the gods are in the hands of the great events of the intersection of heaven and earth, only when heaven and earth intersect, everything on the earth can grow, and human beings can survive.

Through a window, the boundless wind and moon are borrowed, the surface and the inside are transparent, and the day is warm and warm. The ancient Chinese window, composed of straight lines and curves, attributes the natural spirituality to the place of people. It connects indoors and outdoors, and also connects the heavens and the earth. It is not only a kind of construction representation trick, but also contains the poet's beautiful feelings.

In the ancient interior design, the ancient window is a floating shadow connecting the ancient and the modern. The materials and tricks are new, but the inner meaning carries the beauty of thousands of years of existence.

In the new Chinese style, the designer makes the windows so beautiful that the soul throbs.

Following the aesthetic inertia of the ancestors, the round picture is more delicate than the square and rectangular, and can better represent classical beauty.

The round window circles a round picture, which is the scenery and the artistic conception. The round window extends the interior view to the interior, expressing the infinity of the "circle".

In the ancient conception, we see the continuation of the lattice, and the innovative idea breaks through the traditional tricks, and the elements such as lattice windows and isolation distance are given new meanings.

Chinese lattice windows are often used for screens, isolation distances, doors and windows, etc., the ancient Chinese lattice doors and windows combine the traditional national crafts and ancient decoration style, meticulously copied, very ancient smell, and do not lose the classical charm of the hollow flower pane, set lighting and ventilation, view into the painting, whitewash and ugliness in one, rich markings pattern to experience the elegant humanistic taste.

The lattice gives people a loose sense of ceremony, but also has affinity and warmth, and the refreshing and elegant lattice doors and windows are pasted with light veil, which makes people can't help but think of the love song in "Dream of Red Mansions".

The painting is flying towards the clouds in Nanpu, the bead curtain is rolling in the rain in the western mountains, and the best explanation of the humanistic feelings of the curtain is in the Chinese concept, which expresses the dusk beauty of the extreme description.

The louver originated in China, in ancient China's construction, the straight strip is called the mullioned window, from the Warring States period to the Han Dynasty since the use of its horizontal strip called the mullioned window, the mullion window is a primitive style of the louver window.

The blinds are still very popular, they bring an intimate and serene mood, rhythmic, silent, and the lines of the whole display. The three-dimensional beauty that expresses the magnanimity and warmth, and the different shutters can also make light and shadow the best whitewash in the home.

The sunlight poured on the floor through the shutters, warm and satisfying. Everyone lives in their own window, recording the circuitous cycle of the passing years, and summarizing the joys and sorrows of life.

Through the flower window, the most beautiful time is opened. Square lattice is popular in Japan, often used to separate distance from windows, in fact, it is very popular among Chinese, used to isolate distance, show Zen used for windows, indicating order.

There are many lattice windows in Dongyang wood carving.

Dongyang wood carving is one of the Chinese folk carving arts, named because it is produced in Dongyang, Zhejiang, "Dongyang wood carving" and "Qingtian stone carving" and "boxwood carving" are called "Zhejiang three carvings". Known as the hometown of Chinese wood carving, Dongyang, Zhejiang, has a history of more than 1,000 years of wood carving, the Forbidden City in Beijing and Suzhou, Hangzhou, Anhui and other places, there are exquisite Dongyang wood carvings left behind.

Dongyang wood carving is a carving art based on plane relief. Its multi-layered reliefs, scattered perspective compositions, and flat decoration have formed their own distinctive characteristics. And because of the light color, retain the natural grain color of the log, the style is elegant, also known as "white wood carving" (showing the natural color of wood, different from painting), since the Tang Dynasty has a history of more than 1,000 years, is one of the best folk crafts of the Chinese nation, known as "the treasure of the country".

Dongyang wood carving began in the Tang Dynasty and flourished in the Ming and Qing dynasties, and has a high level of craftsmanship since the Song Dynasty. According to Dongyang's "Kangxi Xinzhi", during the Tang Taihe period, Feng Su and Feng Ding of Feng Gaolou Village in Dongyang were appointed as the secretary of the Ministry of Shangshu and the Ministry of Works.

Lu's tomb and the tomb of Jinshi and Prime Minister Shu Yuanyu during the Tang Yuanhe period were stolen at the beginning of the 20th century, and there are finely carved burial wooden figurines unearthed, which shows that the Dongyang wood carving has developed to a certain extent before the Taihe year of the Tang Dynasty. The existing Song Dynasty Jianlong two years carved the statue of the talented boy and the Guanyin Bodhisattva is elegant and dignified, which is enough to show the level and style of Dongyang wood carving at that time!

When the Ming Dynasty was prevalent in carving woodblock printing, Dongyang gradually developed into a famous production area of wood carving craft in the Ming Dynasty. It mainly produces Arhats, Buddha statues and architectural decorations such as palaces, temples, gardens, and residences.

During the Qianlong period of the Qing Dynasty, Dongyang wood carving has been famous throughout the country, when there were about 400 skilled craftsmen into Beijing to repair the palace, some artists were selected to enter the palace to carve palace lamps and dragon beds, dragon chairs, cases, etc., and later developed to carve flower beds, cabinets and other furniture items in the folk.

Dongyang wood carving is widely used in architecture and furniture decoration, forming a complete set of skills and perfect style, there are Lu Mansion "Su Yong Hall" and Bai Tan "Wu Ben Hall", Ma Qiao "Yi Jing Hall" and other ancient buildings of the Ming and Qing Dynasties and "Thousand Workers Bed", "Ten Miles of Red Makeup" and other furniture!

After the Xinhai Revolution, Dongyang wood carving turned to commerciality, and the handicrafts and cabinet furniture made by wood carvers were bought by merchants and exported to Hong Kong, the United States, Nanyang and other places, forming the heyday of Dongyang wood carving products.

In 1914, the "Renyi Factory" opened in Hangzhou was the earliest manufacturer of wood carving in Dongyang, and gradually developed to Shanghai, Hong Kong, Singapore and other places. During the Anti-Japanese War and the domestic revolutionary war, Dongyang wood carving once withered, the products were unsalable, and the artists were unemployed.

After the founding of the People's Republic of China, the party and the government organized the wood carvers scattered in various places and established cooperatives. In 1954, Dongyang Wood Carving Factory was established, and its products are exported to more than 80 countries and regions such as Europe, America and Southeast Asia. So far, Dongyang wood carving has developed to more than 3,600 varieties in seven categories.

Among them, the wood carving screen, hanging screen and three-dimensional art screen and other highly artistic appreciation products are an innovation in the Dongyang wood carving industry on the basis of the traditional relief craft form. With the development of the times, Dongyang wood carving has many successful works in combination with the use of traditional wood carving technology, antique, and modern architecture and decoration!

It is said that the Tang Dynasty Huo Lu Banhua master built a hall for Feng Su and Feng Ding brothers, and when he was ready to pick up the beams, a re-inspection, 180 Nanmu beams were all one foot two inches shorter, and Lu Ban was shocked! There is an old man who comes to the door to ask for fish and meat, and the live Luban entertains him, and the old man moves the two fish tails on the two bowls respectively, like two fish heads facing each other, stretches out a section, and then uses a chopstick to the two mouths, and goes away.

Living Luban suddenly understood, and immediately ordered the craftsmen to make 360 fish heads and fix them on the stigma. In this way, the beam is connected, the head of the fish is pressed on the column, novel and beautiful, and the head of the fish is homophonic with the "rest of the head", it is auspicious, and the descendants add the ox leg on the head of the fish, which becomes the earliest Dongyang wood carving.

The traditional Dongyang wood carving belongs to the decorative carving, mainly plane relief, there are thin relief, bas-relief, deep relief, high relief, multi-layer superimposed carving, hollow double-sided carving, sawing hollow carving, full of carving, color wood inlay carving, round wood relief and other types, the basic characteristics of the plane decoration are rich in layers and do not lose the plane decoration, and the color is light, no dark lacquer, retain the natural texture and color of the log, the style is elegant, known as "white wood carving".

The types of raw materials for Dongyang wood carving are mainly camphor wood, pine, and mountain poplar, and there are also cypress, mahogany (rosewood), ash, metasequoia, spruce, yew, and Taiwan pine.

There are two types of craftsmanship: drawingless engraving and artwork design engraving, both of which focus on creativity and "painting", and have high artistic value. The subject matter of Dongyang wood carving is mostly historical stories and folklore, the pattern decoration is rich and varied, and the "full flower" is also interspersed with rich carvings, plus figures, landscapes, flowers and birds, animals, etc.

In terms of artistic techniques, Dongyang wood carving deals with the perspective relationship with high level, distance and plane dispersion, and takes the scattered perspective or bird's-eye perspective of traditional Chinese painting as the composition characteristics, and the content it shows can be richer than that of Western relief, it can not be bound by the laws of Western carving and painting such as "near big and far small", "Jingqing" and "distant view virtual", and fully display the content of the picture, which can be described as "painting in the painting, scenery in the scene".

The traditional style of Dongyang wood carving mainly includes "carved body" and "ancient style", and later produced the "micro body", "Beijing style" of drama culture, and the "painting style" of painting spectrum. It is believed that the "painting style" pays attention to the sparse relationship between the positions of the figures, the dynamic changes of the figures' postures are many and vivid, the scenery is rich in layers, and there are ins and outs, overlapping and unambiguous.

The subject matter of Dongyang wood carving is mostly historical stories and folklore, the picture design is in the same vein as the traditional Chinese painting white depiction of flowers, the pattern decoration is rich and varied, and the "full flower" is also interspersed with rich carvings and decorations, plus figures, landscapes, flowers and birds, animals, etc.

In terms of artistic techniques, Dongyang wood carving deals with the perspective relationship with high levels, far and scattered planes, and takes the scattered perspective or bird's-eye perspective of traditional Chinese painting as the composition characteristics, which can not be bound by the laws of Western carving and painting such as "near big and far small", "near view clear" and "far view void", and fully display the content of the picture.

The carving techniques of Dongyang wood carving are mainly relief, combined with the use of "deep hollow carving", "transparent carving", "transparent double-sided carving", "semi-circular carving", "three-sided carving", "cylindrical carving", "fighting carving", "yin carving", "tree root carving", "color wood inlay carving", "hollow applique carving" and other more than 10 kinds of techniques.

The carving is delicate and sophisticated, exquisitely clear and does not hurt the whole and firm. For example, "permeable double-sided carving" is a kind of wearing the flower sawing after the empty, and then the front and back of the carving technique, it pattern as a whole, the structure is tight, air and air permeable, sturdy and durable, often used in the house porch, doors and windows, palace lamps, screens, cabinet shelves on the carving.

Form (technique) determines style. Dongyang wood carving to the composition of full atmosphere, rich and delicate layers, realistic imagery, fine workmanship, elegant style and practical and appreciation of the perfect combination of artistic style is unique, this artistic style to Dongyang wood carving of the unique plane relief carving art as a premise.

One of the characteristics of Dongyang wood carving is: full composition, rich performance content, clear layering of carving, appropriate retention of plane, with the artistic effect of small view, especially suitable for the content of strong storytelling.

In other words, within a certain plane and spatial range, the content it can express can be richer than that of Western reliefs, and this is the strength that tradition has given me. The main points of the plane relief carving technique that Dongyang wood carving is good at can be summarized as the composition method of scattered perspective, the modeling skills of combining lines and surfaces, and the hierarchical treatment method of appropriately retaining the plane, small pieces of land and high and far stacking.

The traditional Dongyang wood carving master and apprentice are taught by each other, "three years of apprenticeship, four and a half years of work", and the design and production are not separated. Contemporary Dongyang wood carving has been divided into design, blanking, repairing three types of work, the division of labor began in the early 20th century after the factory production, to the 50s of the 20th century, design from the production process independently.

Blanking is the core of Dongyang's wood carving skills. The older generation of artists all start with simple light repair, and then learn to make blanks after they have a certain foundation. Blanking to complete the three-dimensional modeling of the work, is the key process of the work, not only to turn the plane lines of the design artwork into a three-dimensional image, but also to complete the basic shape for the repair, to determine the general tone of the work.

Nowadays, most of the shortcomings of some works are related to not knowing how to beat the blank: for design, if you don't know how to beat the blank, it will be difficult for you to design a "three-dimensional" artwork, and if the artwork is not good, the blank worker will not be able to make your design effect; For Xiuguang, if you don't know how to beat the blank, it will be difficult for you to "add icing on the cake" to the work.

Polishing is not a repetition of billet making. According to the requirements of the artwork design creativity and subject matter, the scars, scars and burrs left in the blank making process should be removed, and the artistic reprocessing should be carried out meticulously from the whole to the part, so that the work becomes vivid and realistic, exquisite and touching.

Blanking and polishing are the two most important processes of Dongyang wood carving: blanking mainly considers the large effect of the work, that is, composition, subordination, block surface and plastic art. Xiuguang focuses on the work of fine carving, and works fine and fine aspects.

In the early days, Dongyang wood carving rarely had a payment, which was probably due to the fact that handicrafts were regarded as "small skills of carving insects" in the old days, the social status of craftsmen was low, and the artists did not have the confidence of "flowing for a hundred years", and the artists themselves had low cultural literacy, and they were unable to make money. The appearance of Dongyang wood carving began at the end of the Qing Dynasty and the beginning of the Republic of China, and appeared simultaneously with the "painting style". Take a look at the latest chapters of "Dream Claw Book House in the Great Era" and read it for free for the first time.