Chen Da: The Awakening of Shoushan Stone Carving Art Tradition

Chen Da was born in 1949 and is of the same age as the Republic. He studied very widely and studied paintings and calligraphy by Xie Yigeng, Chen Zifen, Pan Tianshou, and other masters of calligraphy and painting. Afterwards, the famous bamboo master Feng Liyuan who settled in Fuzhou learned bamboo carving art. He has profound background in calligraphy, painting, seal carving and bamboo carving art. He has a very high level of accomplishment in the study of Kingstone. However, even if he achieved remarkable results in these areas, it seems destined to be prepared for Shoushan stone carving art. When Chen Da was attracted by Sayaka's glamorous beauty, his artistic career also burst out. His works constantly updated people's understanding of tradition, and his ideas kept attracting people's longing for tradition.

Tracing Gaogu and Bogu, the leading trend of Bogu, the shock that Chen Da brought to us at the beginning was a set of seals of the Bogu language. It was an innovative move by Chen Da to apply the “sand-and-yang” technique in bamboo carvings to Shoushan stone carving. Even because of the beauty of Shoushan Stone, his work is even better than bamboo. One of the typical works of this series is the white ebony stone seal. The author cuts and inscribes the bronze inscriptions at one third of the upper surface of the four prints. The proportion is appropriate and the visual effects are coordinated. The large-area photobleaching of the seal and the horizontal penetration of the bottom of the seal make the seal infinitely extended. In Shoushan Stone, the words “Sand Di Yang Wen” were used to engrave the text, and the contents of Zhong Ding inscription, stele inscription, and seal were matched. However, due to the unique technique, the expression was reversed and presented in a totally different form. Inscriptions and inscriptions of Zhong Ding's inscriptions are mostly intaglio. The lines of texts have been eroded and sharpened over the years. The mottled lines produce a unique vicissitudes of life. The vicissitudes of inscriptions and stone carvings are most closely related to the collapse feelings of the single-faced method. "Sand-Yang Yang Wen" is just the opposite. On the soft Shoushan Stone, the text written with the raised Yang Xian is exquisite and delicate, while the primitive and desolated situation is marked with a rough "sand" around the text. Lines and blocks are interchangeable in visual effects, and the style presented is still the ambiguous artistic conception that we pursue. This aesthetic resonance makes us forget the meaning of words, but it subverts our memory formally. When we indulge in this kind of artistic conception, this kind of creative thinking also enables the ancient characters and techniques to have a clear and fresh expression.

After straightening out his chest and ignoring his mind and offering a taste of elegance to the ancient Chinese seal, Chen Da’s art has gradually been praised and admired by collectors, and even guided the aesthetic orientation of Shoushan Stone Sculpture to some extent. The literary style transformation gradually became the development of Shoushan Stone Sculpture. Important trends. For a long period of time, the artistic style of Shoushan Stone Carving has always been dominated by courtification and folklore. The techniques used to express literati's elegant style mainly rely on seal carving and thinness, and the form is relatively monotonous, and these two kinds of arts are for various reasons. Gradually declining, especially sculpted, because of the lack of literary participation, once this excellent technique was mistaken for the means to cover up blemishes, it is really regrettable. Chen Da is also good at thin carving, and inherited the tradition of hermits in the Song and Yuan dynasty art. His carvings often include poetry, flowers, and clear supplies. For example, this piece of lychee travertine "Autumn Festival" is a thin and fragrant sidewalk. "The leaves are green and the clusters are yellow." The author carved two clusters of chrysanthemums with the help of thin techniques. A jug cup was placed in the lower left of the flower cluster and outlined a Mugu situation.

In Chen Da's works, the beautiful elements of an important node in the history of ancient Chinese art seem to be able to smoothly integrate into his works, such as the jade carving of Hongshan culture, bronze ornaments of the Shang and Zhou dynasty, and the sculptures of the Han Dynasty and the exorcising of evil beasts. Then, after the Song and Yuan dynasty literati art, one by one, in a series of eloquent, it almost epitomized the development of traditional aesthetics. If you want to ask someone in Shoushan Stone Carving Art who can “go ahead with the spirit of a new generation,” Chen Da must be well-deserved.