惠安木雕
Huian wood carving
惠安木雕源于中国文化的雕梁画栋，是与闽南地区“皇宫起”仿宫殿式大型传统民居的建筑雕刻相辅相成而流传的民间艺术，精致古雅，构思巧妙，有中国绘画的意境和趣味。其融合了闽南地区的风俗习惯，既具有古朴淳厚，线条流畅，刚直简洁，人物造型端庄的中原痕迹，又具有南方雕刻文化细腻繁杂的工艺成分，是南派雕刻艺术的典型代表。2007年8月被列入福建省第二批省级非物质文化遗产名录。
Hui'an wood carving originates from the carved beams and painted rafters of Chinese culture. It is folk art that complements and spreads with the architectural carving of the large traditional palace-like dwelling houses in the southern Fujian area, which is exquisite, elegant, ingenious and has the artistic conception and interest of Chinese painting. It combines the customs and habits of the southern Fujian region, with both the ancient and simple traces of the Central Plains, smooth and straight lines, and dignified character shapes, as well as the delicate and complex craftsmanship of southern carving culture. It is a typical representative of the Southern School of carving art. In August 2007, it was included in the second batch of the provincial intangible cultural heritage list in Fujian Province.
01
历史起源
惠安木雕兴于唐、五代，成熟于宋元，明清时步入巅峰，清末民国时名师鹊起、精品迭出，新中国成立后产业兴起、异彩焕发。早期的惠安木雕主要是佛像和建筑物的浮雕装饰，伴随着传统建筑大木雕刻和宗教信仰的传播，其广泛用于各种雕刻装饰，后来更发展有黄杨木雕、神像金木雕、仿真雕、树根雕等艺种，成为当地经济发展的支柱产业和文化旅游品牌。
Huian wood carving flourished in the Tang and Five Dynasties, matured in the Song and Yuan Dynasties, reached its peak in the Ming and Qing Dynasties, rose to fame and produced exquisite works during the late Qing Dynasty and the Republic of China. After the founding of New China, the industry flourished and shone brightly. Early Huian wood carving mainly consisted of relief decorations for Buddha statues and buildings. With the spread of traditional architectural wood carving and religious beliefs, it was widely used for various carving decorations. Later, it developed into art forms such as boxwood carving, statue gold carving, simulation carving, and tree root carving, becoming a pillar industry and cultural tourism brand for local economic development.
唐、五代时期，闽南“皇宫起”仿宫殿式大型传统民居建筑兴起，促使依托于此的惠安木雕被广泛地运用于建筑之中。同时，自唐以来，泉州就被称作临海佛国，在相当长时间里，宗教雕刻是雕刻艺术的主体内容，与建筑雕刻相辅相成而流传。
During the Tang and Five Dynasties periods, the rise of large-scale traditional residential buildings in the style of palaces in southern Fujian led to the widespread use of Huian wood carvings based on this architecture. Meanwhile, since the Tang Dynasty, Quanzhou has been known as the Linhai Buddhist Kingdom. For a considerable period, religious sculpture has been the main content of sculpture art, complementing and spreading architectural sculpture.
宋元时期，惠安木雕渐臻成熟，其艺术追求和表现也由简到繁，由粗至细、由拙至精。据《鉴湖张氏族谱》记载，现存最早的惠安木雕作品是南宋张仕逊参与重建泉州开元寺大雄宝殿屋顶的24尊“飞天乐女”（又称“妙音鸟”）雕塑，它将宗教文化、优美绝伦的雕艺作品、建筑雕刻十分精妙的融合在超凡脱俗的艺术载体中。建于元朝元贞元年的惠安文庙，尚保留完好的吊筒、楣枋、斗拱等“大木”雕刻构件。
During the Song and Yuan dynasties, Huian wood carving gradually matured, and its artistic pursuit and expression also went from simplicity to complexity, from coarse to fine, and from clumsy to refined. According to the records in Jianhu Zhang's Genealogy, the earliest extant Hui'an wood carvings are the 24 "Flying Lady" (also known as "Miaoyingniao") sculptures on the roof of the Shakya ManiHall of Kaiyuan Temple in Quanzhou, which involved Zhang Shixun in the reconstruction of the Southern Song Dynasty. It combines religious culture, beautiful and peerless carving works, and architectural carvings in an extraordinary and refined artistic career. Hui'an Confucian Temple, built in the first year of Yuanzhen in the Yuan Dynasty, still retains intact "big wood" carving components such as hanging barrels, lintel architraves and arch of wooden architecture.
明清时期，惠安木雕更趋成熟，艺术风格开始从粗犷流畅转向雕琢，成为惠安雕刻艺术的代表。1888年（清光绪十四年），享有“八闽第一木雕大师”美誉的崇武王益顺携其子承建峰尾东岳庙，设计制作了全木结构蜘蛛结网藻井并雕镂各种图案，此独创的技法一经问世，便名噪一时。之后，在台北龙山寺、厦门南普陀寺、泉州开元寺等闽台名刹，都留下了建筑“大木”与雕刻绘画相结合的艺术珍宝遗迹。在这一时期，民间艺匠开始走出乡村，形成队伍，带着传统的躯壳前行，迅速地完成对外来文化的剔选与消化，在一个有限的宗教空间成功地进行了多元文化空前融合的艺术实践。此时的惠安木雕已广泛应用于建筑雕刻，在寺庙、宗祠和古民居的建筑时，木制梁柱、撑拱、雀替、垛头、兜肚、垂花等建筑部件大量使用木雕装饰图案。
During the Ming and Qing dynasties, Huian wood carving became more mature, and the artistic style began to shift from rough and smooth to carving, becoming a representative of Huian sculpture art. In 1888 (the 14th year of the Guangxu reign of the Qing Dynasty), Chongwu Wang Yishun, who was known as the "first master of wood carving in Fujian", and his son built the Fengwei Dongyue Temple. They designed and produced a fully wooden structure with spider webs and cofferdams, and carved various patterns. This unique technique became famous once it was introduced. Afterwards, in famous temples in Fujian and Taiwan such as Longshan Temple in Taipei, Nanputuo Temple in Xiamen, and Kaiyuan Temple in Quanzhou, there were artistic treasures and relics combining architectural "big wood" with carving and painting. During this period, folk artists began to leave the countryside, forming teams and moving forward with traditional bodies, quickly completing the selection and digestion of foreign cultures, and successfully carrying out artistic practices of unprecedented integration of diverse cultures in a limited religious space. At this time, Huian wood carving had been widely used in architectural carving. In the construction of temples, ancestral halls, and ancient dwellings, wooden beams, columns, arches, sparrows, buttresses, bellies, hanging flowers, and other building components were extensively decorated with wood carving patterns.
02
文化特征
明代设“匠户”张城筑寨，惠安木雕匠工不见于文献记载。清末民国时期，惠安出现了专业匠村，如“五峰石雕，溪底木匠，官住泥瓦”。清末民国重修的台北龙山寺、厦门南普陀寺、泉州开元寺等闽台名刹，都留下建筑“大木”与雕刻绘画相结合的艺术珍宝遗迹。王益顺的高徒曾参加集美亭阁、重修开元寺、鼓浪屿菽庄花园等的重修木雕构件雕刻。台北龙山寺的建筑装饰可以说是木雕与绘画相得益彰的典范，多层方形横梁错落有致，或浮雕卷曲舒展的花瓣和叶片，或透雕变形却神似的珍禽异兽、或彩绘自然山水、花鸟虬技及浮雕云水波；托梁圆雕伸展双翼的男性飞天舞伎；撑拱或透雕与圆雕混用的双狮舞球、二龙戏珠及百鸟朝凤的图形，或彩绘古典故事、传说与神话的画面；垂花用圆雕、高浮雕及透雕的技法，多层次地收缩雕刻曲卷舒展的花瓣，垂花顶部有面兽身之物双足紧抓花瓣，其背驮巨翅长啄异形鸟。这里木雕艺术所营造的氛围极具震撼力，它传承了中国传统木雕艺术的意蕴，又出现古印度、古波斯与古希腊文化的身影。
During the Ming Dynasty, Zhang Chengzhai, also known as the "Craftsman Household," was established, but there are no records of Huian woodcarving craftsmen. During the late Qing Dynasty and the Republic of China, professional artisan villages emerged in Huian, such as "Wufeng Stone Carving, Creek Bottom Carpenter, and Official Residence Mud Tile". The famous temples in Fujian and Taiwan, such as Longshan Temple in Taipei, Nanputuo Temple in Xiamen, and Kaiyuan Temple in Quanzhou, which were renovated during the late Qing Dynasty and the Republic of China, all left behind artistic treasures and relics that combine architectural "big wood" with sculpture and painting. Wang Yishun's senior disciple once participated in the reconstruction of wooden carving components such as the Jimei Pavilion, Kaiyuan Temple, and Gulangyu Shuzhuang Garden. The architectural decoration of Taipei Longshan Temple can be said to be a perfect example of wood carving and painting complementing each other. The multi-layered square beams are arranged in a staggered manner, with reliefs of curled and stretched petals and leaves, carved and deformed rare birds and animals that resemble each other, painted natural landscapes, flower and bird winding techniques, and reliefs of clouds and water waves; A male flying dance performer with a round carved beam and extended wings; The graphics of double lion dance balls, two dragons playing with pearls, and hundreds of birds bowing to phoenixes, which are a combination of arched or translucent carvings and round carvings, or the paintings of classical stories, legends, and myths; The hanging flower uses techniques such as round carving, high relief carving, and openwork carving to shrink and carve the curled and stretched petals in multiple layers. The top of the hanging flower has a beast-like body that tightly grasps the petals with both feet, and its back carries a giant winged bird that pecks at the irregular shape. The atmosphere created by wood carving art here is extremely shocking, inheriting the essence of traditional Chinese wood carving art and incorporating the figures of ancient Indian, Persian, and Greek cultures.
唐卡被人称为“藏文化百科全书"，其题材内容以宗教为主，涉及历史、政治、经济、文化、民间传说、世俗生活、建筑、医学天文、历算等领域。一般可分为，宗教类和非宗教类。宗教类包括：曼茶罗画、本生、集树会、祖师像、生活传记、诸佛普萨、本尊护法、空行、罗汉、生死轮回图、西方极乐世界等。非宗教类则包括：历史、传说故事、天文历算、藏医药学等。其中最常见的是宗教画一佛像，这种唐卡一般中心位置描绘主要人物，从画面上角开始，围绕主体，按顺时针方向与其有关的人物、活动场所或故事布满一周。
After the establishment of the People's Republic of China, under the leadership of the government, a group of famous woodcarving craftsmen emerged in Huian. Since the 1960s, Huian wood carvings such as "Blowing Xiao and Leading Feng" and "Yue Fei's Birth" have been selected for national arts and crafts exhibitions and exhibitions in countries such as Italy. After the reform and opening up, a new era began, and Huian wood carving has increasingly demonstrated its extraordinary aristocratic style, standing out from the tradition of family workshops and ascending to the sacred art hall with an extraordinary and otherworldly momentum, receiving full recognition and respect from Chinese sculpture experts. Famous Chinese sculptor Qian Shaowu even praised "Huian wood carving, the world's number one". A large number of modern woodcarving works that are worthy of being crowned in China have emerged one after another, such as Huang Quanfu's "Long Live the Motherland", "Dare to Ask Where the Road Is ", "Going to the Meeting Alone", "Everyone is Happy · 18 Maitreya Buddha Series", "Heavenly Horse Soaring · Eastern Divine Horse China Seal", Zheng Guoming's "Farewell to the Overlord", "A Bath for a Thousand Years", "Haoran Zhengqi", "Free Guanyin", Chen Mulin's "Su Wu Shepherd" and "N ü wa Mending the Sky", Sun Wenhong's "Perseverance" and "Enjoyment", Liu Qunwei's "Playing with Toad in the Liu Hai", Zhuang Guoming's "Leisure", Sun Wenyong The Joy of Being a Family Member; Zhuang Guoming's "Great Mao Zedong", "Maitreya Report", "Lilian Guanyin" have won awards at home and abroad, the highest award of Chinese arts and crafts Hundred Flowers Award Award, China Arts and Crafts Strait Cup Award, and so on. The authors of these works are all skilled woodcarving masters with exceptional skills.
03
制作工序
惠安传统木雕主要材料采用黄杨木、龙眼木、花梨木、紫檀、黑檀、绿檀、檀香、沉香、红豆杉、樟木、杉木、椴木、银杏木、松木、象牙等。惠安木雕因木材质地的不同，分为硬质木雕与软质木雕两大类。
The main materials for traditional wood carving in Huian are boxwood, longan wood, rosewood, rosewood, ebony, green sandalwood, sandalwood, agarwood, yew, camphor wood, cedar wood, oak wood, ginkgo wood, pine wood, ivory, etc. Huian wood carving can be divided into two categories: hardwood carving and softwood carving, depending on the type of wood material used.
纵观惠安历代木雕作品，其雕刻技法可分为混雕、剔地雕、线雕、透空雕、贴雕几大类。以传统题材的圆雕、浮雕为主的传统工艺品。惠安木雕从应用及装饰的范围来讲，可分为建筑雕刻、家具雕刻、工艺品雕刻三大类。
Looking at the wooden carvings of Huian throughout history, their carving techniques can be divided into several categories: mixed carving, ground carving, line carving, hollow carving, and stick carving. Traditional handicrafts mainly feature round carvings and reliefs with traditional themes. In terms of application and decoration, Huian wood carving can be divided into three categories: architectural carving, furniture carving, and handicraft carving.
04
传承保护
惠安木雕在漫长的历史发展过程中，涌现出一大批名师艺人，可惜大多数只口碑流传其姓名，清代以前见诸文字的甚少，有所记载的主要是清代以后的名师。由于惠安木雕艺人成名后，并不固守本地，常常身怀绝技，远赴他乡甚至海外创业，因此，对他们的传承脉络的研究整理上难尽其详。但是，从有关文献、历史遗留的蛛丝马迹和口碑相传的痕迹中，也可以理出一条相对清晰的脉络。
In the long historical development process of Huian woodcarving, a large number of famous teachers and artists have emerged. Unfortunately, most of them only have their names passed down through word of mouth, and there are few written records before the Qing Dynasty. The main ones recorded are famous teachers after the Qing Dynasty. Because Huian woodcarvers, after becoming famous, do not stick to their local culture and often possess unique skills, they travel to other places or even overseas to start businesses. Therefore, it is difficult to provide a detailed study and organization of their inheritance. However, a relatively clear thread can also be deduced from relevant literature, historical traces, and word-of-mouth rumours.
惠安木雕富有强烈的民族、宗教内涵，以及鲜明的艺术性和丰富的表现手法，在中国雕刻艺术史上占有重要的地位和影响，是中国南方雕刻艺术的典型代表，素有“北有东阳，南有惠安”之称。
Huian wood carving has strong ethnic and religious connotations, as well as distinct artistic qualities and rich expressive techniques. It occupies an important position and influence in the history of Chinese sculpture art, and is a typical representative of southern Chinese sculpture art, known as "Dongyang in the north and Huian in the south".
在千余年的传承与发展过程中，惠安木雕以中原文化的传统意蕴为艺术创作主体，又汲取和融汇了闽越文化、海洋文化以及沿“海上丝绸之路”传入的外来文化的技艺精华，与传统建筑工艺相生相伴，从单纯的手工技艺上升为一种独具区域特色的文化元素。惠安木雕不但与当地百姓的生产和生活息息相关，而且较早传播到台湾和海外地区，成为闽台文化交流的重要内容，其巧夺天工的技艺也得到了东南亚等海外地区华侨华人的广泛认同和推崇，是对中华民族优秀传统文化的一大贡献。
In the process of inheritance and development for more than a thousand years, Hui'an wood carving takes the traditional connotation of the Central Plains culture as the main body of artistic creation, and also absorbs and integrates the essence of Fujian and Vietnam culture, marine culture and foreign culture introduced along the "Maritime Silk Road". It is accompanied by traditional architectural techniques and has risen from a simple handicraft to a cultural element with unique regional characteristics. Huian wood carving is not only closely related to the production and life of local people but also spread to Taiwan and overseas regions earlier, becoming an important part of cultural exchange between Fujian and Taiwan. Its exquisite craftsmanship has also been widely recognized and praised by overseas Chinese in Southeast Asia and other regions and is a major contribution to the excellent traditional culture of the Chinese nation.
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