My system is not decent

In modern society, stone lions are everywhere, but not many can do well.

Just like the stone carving factory in front of Chen Wenzhe, it must be a master of carving stone lions.

It can be said that the stone lion is a model for the stonemasons here to give "life" to the stubborn stone.

With its upright chest, upturned head and majestic expression, a stone sculpture called "Stone Lion" in the factory is particularly eye-catching.

This is a stone sculpture called "Roaring to the Sky", from the Song and Yuan Dynasties.

In fact, every stone carving work handed down from ancient times condenses the wisdom of the craftsmen and the aesthetics of their era.

Whether it is the depiction of secular characters or animals, flowers and plants in nature, they all pay great attention to the perfect fit of form, content and theme.

The ancients tried to express their views and feelings on worldly things by giving life to stubborn stones, so as to gain calmness and openness of mind.

This sculpture roaring to the sky illustrates this point.

Take a closer look at this Chaotianhou, the carved lines are chiseled along the texture of the stone.

The hair on the back of Chaotianhou and the tail have golden lines, which are as bright as golden hair, and the turns of the stone carving are more like curly hair. The whole stone carving shows the thick hair of Chaotianhou.

In addition, the round stone pattern on Chao Tianhou's chest is like a badge showing his identity, and the flame pattern engraved on the side further shows Chao Tianhou's status and aura.

In ancient times, Chaotianhou was basically made of a pair, with one head looking out, which means "Wishing the king back", and the other head facing the harem, meaning "Wang the king comes out".

Roaring towards the sky actually has the meaning of keeping watch. The roaring towards the sky on the top of the Huabiao column is also regarded as a symbol of auspiciousness, beauty, might and majesty, as it conveys the will of God and conveys the sentiments of the people.

And this one roaring towards the sky, after years of vicissitudes, has been separated from the other one.

Although it is slightly incomplete, but the momentum is still there, as shown in the picture as a whole, it seems to be endowed with life, the degree of exquisiteness is breathtaking, and the collection value is extremely high.

It turned out that Chen Wenzhe had encountered rubbings of the Six Steeds of Zhaoling Mausoleum. He did not expect to see so many precious ancient stone carvings when he entered a stone carving factory this time.

Chen Wenzhe likes to collect, as long as there is a certain artistry, or a certain level of technology, he likes it.

Collection is not only a nostalgic feeling, but also a continuation of the Chinese culture.

Chen Wenzhe carefully savors every piece of his stone carving collection. From small to large, from high to low, each piece of work reveals the craftsman spirit in Chinese culture, and reflects the unique love and persistence of a collector.

From this, Chen Wenzhe can see that the boss of this factory is very good.

Because collecting ancient stone carvings is not just about seeing the majesty and majesty of history, but also because the stone carvings are ancient and majestic, they are flowing epics, and they are cultural protection treasures and inheritance side by side.

This is a stone carving factory, and there must be no shortage of inheritance.

Just now Chen Wenzhe admired the precious ancient stone carvings, saw the modern courtyard stone carvings, and even saw the popular stone lions.

Now, he has seen some imitations, such as the famous Zhaoling Six Horses.

"Six Horses of Zhaoling Mausoleum" is a treasure in the history of Chinese sculpture, on the one hand because of its superb artistic techniques, and on the other hand because it is a rare work with realistic themes among stone carvings in the Tang Dynasty.

At the beginning of the 20th century, when Master Lu gave a lecture in Chang'an and talked about the "Six Horses of Zhaoling", he said: "Most of the stone beasts in front of the tombs of the Han people are sheep, tigers, Tianlu, and evil spirits, but on the Zhaoling Mausoleum in Chang'an, there are horses with arrows. , the method is simply unprecedented.”

So besides the six horses, there are other ligers, tigers, leopards, and so on.

For example, a piece of stone to ward off evil spirits should be an imitation of the works of the Eastern Han Dynasty. This is a kind of mythical beast in ancient Chinese legends, which looks like a lion with wings.

There is also stone tiger relief, which is a kind of carving. The sculptor carves the image he wants to shape on a flat plate, making it out of the plane of the original material.

Relief is the product of the combination of sculpture and painting. It uses compression to process objects, and uses perspective and other factors to express three-dimensional space, and can only be viewed from one or two sides.

Of course, if it's just these things, Chen Wenzhe can't be amazed.

The main reason is that people really have an artistic level, so where can you tell?It must be to see the imitation stone carvings of Wei and Jin Dynasties.

The Wei, Jin, Southern and Northern Dynasties used epitaphs as the medium to express daily life.

The main artistic value must be the fonts. There are all kinds of celebrity fonts. Among the stone carvings and inscriptions that Chen Wenzhe saw before, there are many exquisite ones.

But here, there are not only stone carvings, but also brick carvings.

It looks like bricks depicting rice pounding in the Eastern Han Dynasty. This is an image of the interior decoration of the tomb.

This Han brick is 25 centimeters high and 39 centimeters wide.

The processing of grains in the Han Dynasty had a new development. In addition to the existing pestle and mortar in the pre-Qin period, pedal pestles ("practicing pestles"), animal-powered pestles and hydraulic pestles appeared successively.

With the help of these tools, the labor intensity is gradually reduced, while the efficiency of pounding rice is greatly improved.

Pedal pestles were widely used in the Han Dynasty.

Of course, here are mainly stone carvings, and a large relief sculpture once again made Chen Wenzhe amazed.

After a little closer inspection, Chen Wenzhe knew that this was a copy of the stone railing of Anji Bridge in Sui Dynasty.

This object was unearthed at the site of Anji Bridge in Zhao County, Beihe in 1952. It is 212 cm long and 84.5 cm high.

This object is a railing component of Anji Bridge, rectangular, with dragons carved on both sides.

The two dragons on the front face are covered with scale armor, and their bodies face each other as if piercing through the fence, their heads are turned away, and their front paws push each other.

On the back, the two dragons are running towards each other, with their bodies twisted and their hind legs propped up on the ground.

There are still many moments like this when he grows more than two meters, such as a relief sculpture of a warrior.

This is an imitation of the painted relief stone carving of warriors on the back beam, which is a decorative image of the tomb.

It is 113.5 centimeters high, 58 centimeters wide and 11.7 centimeters thick.

This painted warrior statue is carved in high relief on rectangular white marble.

Dressed in armor and holding a sword, he stands on top of an elk with a dragon on his shoulders, which should be the image of a heavenly king, a Buddhist Dharma protector.

Its artistic style inherits the rhyme of the Tang Dynasty and is the first of its kind in the Song and Yuan Dynasties. It has high artistic value.

The brick carving just now, as well as this pair of warrior statues, are all from the ancient tomb.

There are still some things like this, such as imitation lintels of tomb chambers from the Northern and Southern Dynasties.

This is a stone coupon gate, which consists of five parts: arched lintel, gate post, threshold, tiger head gate pier and stone gate.

The door has no shaft, does not open and close, and is embedded in the lintel.

A delicate boy holding a lotus bud is embossed at both ends of the door lintel, and a peacock is embossed on the upper part of the doorpost.

This should be the stone gate of Yonggu Mausoleum, which is a masterpiece of stone carving art in the Northern Wei Dynasty.

Stone inscriptions like this, after thousands of years, must still be handed down.

These stone carvings, in such a simple and regular alternation process of night and day, staged an ancient story.

When everything gives way to the years, a culture is immortal, and the inscriptions on the stone carvings are colorful in the long river of history, and will last forever in different ways.