Stone Carving Legacy

Author: Wang Qinglu
Publisher:
Publish Date: 2006-12-01
Features: The use of stone carvings as compared to the pure sculptural art of the West in the pre-modern era was indeed something that China could not possess. This was due to the continuation of the habit of valuing practicality over what is later termed "art." As a result, modern people cannot select purely ornamental artworks from ancient sculptures. It is indeed caused by national habits, and in reality, there has been no opening of the "art" trend. This is also the case in the West. However, non-purely ornamental utilitarian items still contain elements of "art," and their utilitarian aspects can reflect the changes in folk customs. This is especially true for stone carvings. Since the beginning of primitive society, they were used for primitive worship, often featuring phallic symbols and naked female figures, which could be termed reproductive worship or "spring palace" purposes, though their origins remain uncertain. During the Shang, Zhou, Spring and Autumn, and Warring States periods, they were rarely seen. It was not until the Han Dynasty that they became popular, with extensive use in tomb decorations. Observing the carvings on stone portraits, one can still see the "painting room" mentioned in the Book of Han·Biographies of Huo Guang where Huo Guang "stayed in the painting room," serving as decoration. The stone sculptures placed at the tomb of Huo Qubing still leave a profound impact even when seen in paper images. If one were to stand before the actual artifacts, how could they not be utterly mesmerized? Yet their intended purpose was merely to imitate the ceremonial guards of their lifetimes. They continued to be used during the Wei, Jin, Southern and Northern Dynasties and later periods, known as "stone figures." This book is part of the Comprehensive Appreciation of Chinese Folk Artifacts series, featuring artifacts that are unique and rare, both historically and aesthetically valuable. All images are taken in the field and have not been published. Each image is accompanied by a text description, noting the era, material, dimensions, and relevant background information and appreciation content. When necessary, the authenticity, provenance, and historical and modern value are also noted. Each artifact's text description ranges from 50 to 500 words. At the beginning of the book, there is a preface summarizing the development history, circulation overview, key points of appreciation, collection intentions, value judgments, and authenticity identification of the artifacts in this volume, totaling about 3,000 words.