广东省博物馆木雕展馆英文讲解词

漆木精华——潮州木雕艺术展览 Beauty Is Gilt Wood Chaozhou Woodcarving Art Exhibition 前 言 Introduction 第一部分  源流篇History 第一单元 发展期 1. Initiation 第二单元 成熟期2. Maturation 第三单元 兴盛期3. Prosperity 第四单元 衰退期4. Declination 第五单元 复兴期5. Rerising 第二部分  制作篇Craftsmanship 第一单元 材料1.Materials 第二单元 工具2.Tools 第三单元 雕刻技法3.Carving Techniques 第一组 沉雕1)Intaglio 第二组 浮雕2)Relief 第三组 圆雕Altorelievo 第四组 通雕Openwork 第四单元 制作工序4.Work Process 第一组 整料1)Material preparation 第二组 起草图2)Drafting 第三组 上草图3)Printing 第四组 凿粗坯4)Printing 第五组 细雕刻5)Fine carving 第六组 髹漆贴金6)Coating 第三部分  艺术篇Art 第一单元 丰富多彩的题材内容1. Variety of Themes 第一组 人物类1）Human Figures 第二组 自然物像类2）Natural Images 第三组 几何图案类3）Geometric Patterns 第二单元 形式多样的构图布局2.Diversity of Composition 1、 第一组 格律体构图1）Metric Composition 2、 第二组 平视体构图2）Isometric Composition 第三组 立视体构图    3）Perspective Composition 二、 第三单元 灵活多变的艺术手法Adaptability of Artistic Skills 1、 第一组 周身布饰1)    Spread Decoration 第二组 巧设路径2)    Artful Cohesion 2、 第三组 合理夸张3)    Adequate Exaggeration 第四组 数艺并施4)    Combined Techniques 第四单元 独具特色的总体装饰  4.    Unique Overall Decoration 3、 第一组 黑漆装金1)    Foil coating on black lacquer background 4、 第二组 五彩装金2)    Foil coating on colorful background 第三组 本色素雕3)    Natural color woodcarving 第四组 漆画菁华4）Lacquer painting 第四部分  器用篇Utilization 第一单元 建筑饰件1.    Architectural Decorations 第二单元 礼祭器具2.    Ritual Vessels 第三单元 家具陈设3.    Furniture placement 第五部分  欣赏篇      More Exhibits for Appreciation  结束语Epilog 前 言 潮州木雕是我国著名的民间传统木雕流派之一，主要流行于粤东的潮州、潮安、饶平、普宁、汕头、澄海、潮阳、揭阳、揭西、惠来等旧潮州府属地区，以此故名。 潮州木雕历史悠久，具有鲜明的地方特色，以饱满繁复、精巧细腻、玲珑剔透、金碧辉煌的艺术风格而著称于世。那美仑美奂、造型各异的器物品类，那生活气息浓郁、民俗意蕴深厚的题材纹饰，那惟妙惟肖、纤毫毕现的雕刻工艺，那豪华富丽、流光溢彩的漆金技法，形象地展示着潮汕人的审美情怀和文化风貌，具有独特的魅力和迷人的风采！ Introduction Chaozhou woodcarving represents a famous school of folk woodcarving in China, with great popularity in the Eastern Guangdong areas historically under the jurisdiction of Chaozhou Prefecture including Chaozhou, Chao’an, Raoping, Shantou, Chenghai, Chaoyang, Jieyang and Puning. Chaozhou woodcarving enjoys a longstanding history with distinctive local characteristics. This form of art is famous for its richness and subtlety of details, delicate and elaborate designs, exquisite craftsmanship and grand look. The magnificent utensils in various shapes, the decorative patterns with rich sense of life and profound representation of local culture, the delicate and microscopic carving and the splendid and glorious lacquering and foil coating, are all vivid embodiment of the custom, fashion, culture and spirit of the Chaozhou-Shantou people, displaying its unique charm and enchanting elegance. 序 厅 Introductory Hall 展品：（民国）木雕建筑梁架（一套）              高约600×宽约700cm The decorative woodcarvings on the beam mounting (Republic of China) 展品：金漆木雕进屏（２屏）            每屏高约３２０×宽约５６cm Gilt woodcarving screen [提示] 拟利用木雕建筑构件复原一民居门厅。前言文字作雕刻贴金处理。 第一部分 源 流 篇 [部导言] 潮州木雕历史悠久，源远流长。它孕育和萌芽于唐代以前，发展于唐宋，成熟于明代晚期，清代中晚期达到鼎盛阶段，至抗日战争时期逐渐走向衰退。新中国成立后，潮州木雕几经起伏，逐渐恢复，在传承与发扬中加以创新，风彩重现，成为中国首批非物质文化遗产名录之一。潮州木雕的发展兴衰，生动地折射着潮汕地区历史和文化的变迁，印证着潮汕人善于吸收融汇、精益求精、不懈进取的精神。 History Chaozhou woodcarving has a profound history, brewing prior to the Tang Dynasty, initiating in the Tang and Song Dynasties, maturing in the late Ming Dynasty, flourishing in the middle and late Qing Dynasty and gradually falling in the period of Anti-Japanese War. Since the founding of the New China, Chaozhou woodcarving has risen and fallen several times. It has a new life in the heritage and carrying forward, included in the First Batch of China Intangible Cultural Heritage. The rise and fall of the Chaozhou woodcarving is a vivid reflection of the twists and turns in history and culture in the Chaozhou-Shantou area, witnessing Chaozhou-Shantou people’s ability to absorb and digest innovations, their unremitting pursuit of improvement and perfection. [设计提示] 展品有实物、地图、照片、灯箱等，以辅助展品为主，实物展品较少。设计时要尽可能地使实物展品与辅助展品达到和谐统一，以通联式展柜、展壁为主，以满足连续性内容的展示要求。 图版：清代潮州府疆域总图（双底接片） Map of Chaozhou Prefecture in the Qing Dynasty 图片：  潮州古城图    （四底接片） Map of Ancient Chaozhou 第一单元 发展期    [单元导言] 唐宋时期，潮州木雕不断发展，木雕制品初具水平，物像造型简洁粗犷，刀法刚劲洗练，风格拙朴浑厚。 Initiation Chaozhou woodcarving initiated in the Tang and Song Dynasties, when the finished woodcarvings were of a steady quality, featuring simple and vigorous figures, confident and clear cutting, and plain and vigorous style. 图片： 木鱼Wooden fish 说明： 唐代制品，原为潮州开元寺僧侣开膳时敲击信号之用。形像古拙浑厚，气韵沉雄，历千余年而不朽，弥足珍贵。 Produced in the Tang Dynasty, the wooden fish had once been used by the monks in Kaiyuan Temple to strike the wooden fish as a signal for meals. The wooden fish looks plain and vigorous with a solemn and powerful air. The utensil proves especially precious, as it has remained imperishable through a history of more than a millennium. 图片： 木雕龙头   Wooden dragon head 说明： 宋代木雕制品，是潮州开元寺悬挂大铜钟的横木，上雕龙头纹饰，俗称“木龙”。雕刻简练粗犷，风格与唐代木鱼近似。 Produced in the Song Dynasty, this work is the transverse beam on which hangs the bronze bell of Kaiyuan Temple in Chaozhou. A decorative pattern of dragon head was carved on the beam, which is commonly known as the “wooden dragon”. The rough and bold carving takes after the style of the wooden fish from the Tang Dynasty. 第二单元 成熟期 Maturation [单元导言] 明代，潮汕木雕逐渐应用到建筑、祭器、家居陈设等方面。至明代晚期，木雕艺人已能综合运用浮雕、沉雕、圆雕和通雕等多种技法，并从平面雕饰向单层通雕发展，技艺成熟，逐步形成地方风格。雕刻题材丰富，物像造型简练，神态生动逼真，刀法明快有力，具有较高的艺术水平。 In the Ming Dynasty, the application of woodcarving for decoration was extended to broader fields including architecture, worship and furnishing. By the late Ming Dynasty, woodcarvers began to combine various carving styles such as relief, intaglio, altorelievo and openwork with a shift from plain carving to single layer openwork, which marked the formation of the local style. These carvings were of high artistic value with their rich themes, plain image patterns, vivid expression and confident cutting. 图片：（明代）木雕府楼猴    Decorative wooden monkeys on the gate tower of Chaozhou Prefecture Office （Ming Dynasty） 说明： 府楼猴是明代潮州府府衙正门门楼----镇海楼栏杆108根望柱头的木雕装饰。雕刻比例准确，线条简练，造型各异，神态生动，具有很高的艺术价值。现藏潮州市博物馆。 These monkeys served as the decorative woodcarving on the 108-baluster capitals on the Zhenhai (Sea Dominating) Tower, the main gate tower of the Chaozhou Prefectural Office in the Ming Dynasty. The monkeys are accurately scaled with simple lines, varying images and vivid expressions, hence it has a high artistic value. They are collected in the Chaozhou Museum. 图片：（明代）庵埠文祠正座梁架 Beam mounting of the main hall of the Confucius Temple (Ming Dynasty) 说明： 庵埠文祠位于潮安县庵埠镇，建于明天启六年（公元1626年）。正座梁架上装饰的木雕狮子、大象、飞凤、鱼龙等瑞兽珍禽，雕刻生动传神，代了明代晚期的木雕水平。 Located in Anbu Town, Chao’an , the temple was built in 1626 (6th year of the Tianqi Period, Ming Dynasty). The beam cushions are in the patterns of such auspicious and precious animals as lions, elephants, phoenixes and ichthyosaurs. The lifelike animal images are typical of the woodcarving level of the late Ming Dynasty. 图片：（明代）庵埠文祠正座梁架木雕狮子、鱼化龙 Wooden lions on the beam mounting of the main hall of the Confucius Temple in Anbu Town, Chao’an County. (Ming Dynasty) 图片：（明代）庵埠文祠正座梁架木雕鱼化龙 Wooden fish & dragon on the beam mounting of the main hall of the Confucius Temple in Anbu Town, Chao’an County (Ming Dynasty) 图片：（明代）黄尚书府木雕穿枋头、驼峰 Penetrating tie end and hump decoration in the Residence of Minister Huang in Chaozhou (Ming Dynasty) 说明：黄尚书府位于潮州市西平路，为明崇祯年间礼部尚书黄锦所建，其木雕装饰简练粗犷，具有明代晚期的特点。 Located in the north of Xiping Road in Chaozhou, the house was built by Huang Jin, Minister of Rites in the Chongzhen Period of the Ming Dynasty. The plain and bold decorative carving was typical of the late Ming Dynasty. 展品：（明代）金漆木雕“文王访贤”花板        H260  高62×宽38×厚5cm  Gilt wood patterned plank featuring the story of King Wenwang Visiting Jiang Shang the Wisdom(Ming Dynasty) 展品：（明代）浮雕“空城计”花板H260高62×宽38×厚5cm Gilt wood patterned plank featuring the story of the Stratagem of the Vacant City.(Ming Dynasty) 第三单元 兴盛期 Prosperity [单元导言] 清代，潮汕地区社会相对稳定，经济繁荣，木雕装饰成为社会风尚，特别是晚清时期，发家致富的海外华侨，纷纷出资在家乡大兴土木，营造祠堂、居室，雕梁画栋，豪华壮丽，大大地刺激了木雕艺术的发展。雕刻题材包罗广阔，工艺水平空前提高，多层镂空通雕技术炉火纯青，并与描金漆画、髹漆贴金等多种装饰技法相结合，以构图饱满、精巧细腻、玲珑剔透、金碧辉煌的艺术风格而闻名中外。 Chaozhou woodcarving prospered in the Qing Dynasty, especially after the middle period. The stable society and prosperous economy brewed the fashion of decorative woodcarving, which greatly boosted the development of woodcarving. Woodcarving of this period features a broad range of themes, unprecedented improvement of craftsmanship, perfected multilayer openwork and the combination of various decorative techniques such as gold-traced lacquer painting, lacquering and foil coating. All these contribute to a world-renowned artistic style marked by richness and subtlety of details, delicate and elaborate design, exquisite craftsmanship and grand look. 图片：（清代）陈氏家庙梁架木雕装饰 Decorative carving on the beam mounting in Chen Clan Temple in Guxi（Qing Dynasty） 说明： 古溪陈氏家庙位于揭阳市仙桥镇永东村，建于清雍正年间，规模宏大，梁柱间多镶嵌人物故事花卉鸟兽饰件，雕工精细，装饰华丽，反映了清代中期潮州木雕的水平。 Located in Yongdong Village, Xianqiao Town, Jieyang City, the temple was built in the Yongzheng Period of the Qing Dynasty. The beams and columns of this large-scale temple are decorated with human figures, stories, flowers, birds and animals. The exquisite carving and elaborate patterns reflect Chaozhou woodcarving achievements in the middle Qing Dynasty. 图片：揭阳关帝庙清代木雕装饰 Decorative woodcarving in the Temple of Guan Yu the Military Sage in Jieyang（Qing Dynasty） 说明： 揭阳关帝庙位于今揭阳市榕城镇，始建于明万历二十九年（公元1601年），清乾隆四十二年（公元1777年）扩建，光绪元年（公元1875年）重修。其前厅藻井及前座的木雕多为乾隆年间雕刻，题材丰富多样，整体装饰疏密有致，刀法洗练，线条流畅，人物生动传神，具有较高的艺术欣赏价值。 Located in Rongcheng Town in Jieyang City, the temple was built in 1601 (29th year of the Wanli Period , Ming Dynasty), expanded in 1777 (42nd year of the Qianlong Period, Qing Dynasty) and renovated in 1875 (1st year of the Guangxu Period, Qing Dynasty). Most of the woodcarvings in the caisson ceiling of the front hall date back to the Qianlong Period, featuring a rich variety of themes, orderly general arrangement, plain carving, smooth lines and vivid figures, which gives a high artistic value. 图片：揭阳关帝庙前厅清代木雕麻姑献寿 Woodcarving in the front hall featuring the story of Fairy Magu Endowing Longevity（Qing Dynasty） 图片：揭阳关帝庙前厅清代木雕寿星 Woodcarving in the image of the God of Longevity（Qing Dynasty） 图片： 揭阳关帝庙前厅清代木雕茶具 Woodcarving tea set（Qing Dynasty） 图片： （清代）从熙公祠木雕装饰 Woodcarving of the Congxi Ancestral Hall （Qing Dynasty） a. 拜亭梁架木雕装饰            Decorative woodcarving on the beam mounting of the worship hall a.     b.     c. b. 正座梁架木雕装饰 Decorative woodcarving on the beam mounting of the main hall c.正座后槽梁架木雕装饰 Decorative woodcarving on the beam mounting of the back slope in the main hall 说明： 从熙公祠位于潮安县彩塘镇金砂村，为马来西亚华侨陈旭年汇资兴建，始建于清同治九年（公元1870年），竣工于光绪九年（公元1884年）。以精巧细腻、玲珑剔透的木雕、石雕装饰而闻名。 Located in Jinsha Village, Caitang Town, Chao’an County, the ancestral hall was built with the fund raised by Chen Xunian, a Malaysian Chinese. Construction started in 1870 (9th year of the Tongzhi Period, Qing Dynasty) and was completed in 1884 (9th year of the Guangxu Period ,Qing Dynasty). The reputation of the temple comes from its delicate and exquisite woodcarving and stone carving. 展品：（清代） 通雕蟹篓形梁托    H1578      长38×宽28×厚16 Crab-cage-shaped carved beam cushion in openwork(Qing Dynasty) 说明：此件原为建筑梁架构件，以具有鲜明地方特色的蟹篓为题材，作品结构紧凑，雕刻粗细适度，既满足了承重的需要，又具有较强的装饰效果，达到了实用与装饰的有机结合。 This is an architectural component with distinctive local characteristic theme of crab basket. The work is compact in structure, moderate in thickness, which not only meets the needs of load bearing and but also has a strong decorative effect, achieving an organic combination of practical use and decoration. 展品：清代  通雕博古花卉纹龛门肚  H268      长80×宽40×厚5 Shrine door panel with patterns of flowers and ancient patterns (Qing Dynasty) 第四单元 衰退期 Declination [单元导言] 民国初期，潮州木雕业上承清代之余绪，得以继续发展，工艺独到之作时有出现。抗战时期，社会动荡不安，经济萧条，民不聊生，百业凋零，昔日繁荣的潮州木雕业萎靡不振，逐渐走向衰退。 In the early Republic of China ,Chaozhou woodcarving still extended from the Qing Dynasty and had a further development with frequent sparkles in woodcarving works. The once prosperous Chaozhou woodcarving began to decline from its climax in the period of the Anti-Japanese War (1937-1945), due to instable society, depressed economy and lack of means of livelihood. 图片：梅祖家祠拜亭梁架木雕装饰  Decorative woodcarving on the beam mounting of the worship hall in the Mei Clan Temple 说明： 梅祖家祠坐落在汕头市潮阳区谷饶镇深洋村，为富商陈梅生所建，始建于1921年，后因主人去世，家道中落，故时建时停，其木雕构件髹红漆，未贴金箔，别具风格。 Located in Shenyang Village, Gurao Town, Chaoyang District , Shantou  City, the Mei Clan temple started to be built in 1921 . The woodcarving components were uniquely painted with red lacquer without foil coating due to the death of the owner and the declination of the family. 图片：梅祖家祠正座木雕装饰  　 Decorative woodcarving on the beam mounting of the worship hall in the Mei Clan Ancestral Hall 展品：（民国）浮雕洋车人物花板    H427    长31×宽16×厚2 Plank in relief  featuring the patterns of cars, rickshas，and human figures (Republic of China) 展品：（民国） 浮雕喜鹊牡丹花板  H418    长60×宽12×厚2 Plank in relief featuring the patterns of magpies and peonies (Republic of China) 说明：作品以红漆衬底，上浮雕牡丹喜鹊图案，构图颇为丰满，较少露底，花瓣、叶脉、羽毛等细部雕刻得尤为细腻传神，花叶圆润丰盈的质感、鸟儿活泼自然的动态尽显。两侧刻有题款：“民国戊辰秋月刊，东升楼王振东置。” The work is designed with magpie and peony on red ground in relief. The composition is quite plump with less exposed ground .Veins, feathers and other fine detail carvings are especially delicate and vivid. Flowers and leaves are carved with a round and vigorous texture. Birds are carved lively and naturally. Inscriptions are engraved on both sides. 展品：（民国）金漆木雕博古人物故事小神龛 H601  高37 宽28 厚15 Small gilt wood shrine featuring ancient patterns, figures and stories (Republic of China) 说明：神椟的两门正背均分六个部分装饰。正面上横肚通雕花鸟图，门肚通雕人物故事，下横肚为黑漆贴金浅浮雕卷草纹。门背面上横肚为镂雕花鸟，门肚为博古图，瓶花、如意、宝鼎、牡丹，以及寓意子孙万代的缠枝葡萄。椟内饰缠枝松鼠葡萄纹落地罩，体现出潮汕人祈求平安、吉祥、富贵、子孙丰隆的美好意愿。下为红漆地贴金箔浅浮雕方格纹枋栏。椟内底板为磨金漆画人物故事图，并署民国廿六年款。 The shrine doors are divided into six decorative boards in the front and at the back. The front upper transverse panel is decorated with birds and flowers in openwork . The shrine door is featuring the patterns of figures and stories . The bottom transverse panel is designed with foil coating grass scrolls in relief coated with gold against the background of lacquer . The back upper transverse panel is carved with birds and flowers in openwork. The shrine door is featuring such ancient patterns as vase flowers ,ruyi , peony  as well as the pattern of interlocking grapes (many children). The pattern of interlocking pine ,grapes and squirrels inside the shrine reflects good wishes of the Chaozhou-Shantou people for peace, good fortune, wealth and many children. Square foil coating columns in relief on red ground are at the bottom. The bottom board inside is decorated with a grinding gold lacquer painting with stamp of the 26th year of the Republic of China. 第五单元  复兴期 [单元导言] 新中国成立以来，潮州木雕几经起伏，在传承与发扬中获得了新生，木雕制品以满足当代人审美需求的独立摆件为主，题材、构图、造型、技法等方面均有突破，历史悠久的潮州木雕艺术绽放出新的光彩。2006年潮州木雕被正式列入中国首批非物质文化遗产名录，成为中华民族的宝贵文化财富。 Rerising Since the founding of the New China, Chaozhou woodcarving has risen and fallen several times. It has a new life in the heritage and carrying forward. Chaozhou woodcarving takes independent ornaments as main products in order to meet the aesthetic needs of contemporary people , making breakthrough in  theme, composition, shape and technique, etc. Historical Chaozhou woodcarving art bursts out new splendor. It was formally included in the First Batch of China Intangible Cultural Heritage in 2006, becoming a valuable cultural wealth of the Chinese nation. 展品：（现代）通雕蟹篓      长32厘米、宽29厘米、高12 厘米 Wooden crab cage in openwork (Modern) 说明：作品以整块樟木雕刻而成，为著名潮州木雕艺人张鉴轩、陈舜羌师徒共同创作。作者运用娴熟高超的多层镂通雕和圆雕技艺，由外而内，逐层雕镂，将蟹篓内外大小各异的十只螃蟹刻划得惟妙惟肖，栩栩如生，是一件构思巧妙，造型优美，玲珑剔透的珍贵艺术品。1957年，该作品在苏联莫斯科“世界青年联欢节艺术博览会”上获得铜质奖章。 This work was created by master woodcarver Zhang Jianxuan and his apprentice Chen Shunqiang. The carving is completed layer by layer on a whole piece of camphor from outside in. Though it is a painstaking job to carve the crabs inside the cage, the woodcarvers managed to carve more than ten lifelike and interesting crabs within the small space after careful planning and knifing. The perfect composition, precise arrangement and the exquisite carving fully display the superb skills of the woodcarvers. The work is a bronze medal winner in the Art Fair of the World Youth Festival in Moscow in 1957. 图片：中国工艺美术大师陈培臣创作的龙虾蟹篓。 Wooden crab cage by China Arts and Crafts master Chen Peichen 图片：中国工艺美术大师李得浓创作的木雕喜鹊闹梅挂屏 Wooden hanging screen with the pattern of magpies and plum blossoms by China Arts and Crafts master Li Denong 第二部分  制 作 篇 Craftsmanship [部导言] 潮州木雕经过上千年的发展，在材料、工具、技法等方面自成特色。木雕艺人选择合适的木料，精心构思，因材施艺，运用不同的工具和独特的雕刻技法，制作出一件件精美的作品。 Having developed for more than 1000 years, Chaozhou woodcarving has formed its unique characteristic in material, tools and techniques. Based on needs of design, woodcarvers applied different techniques according to the quality of the materials and practiced elaborate carving to produce countless delicate works. 第一单元 材料Carving Techniques [单元导言] 潮州木雕所用材料主要有木料、漆料、颜料、金属粉箔等四类。所用木料主要有樟木、杉木、苦楝木、花梨木等多种，以樟木、杉木最为常见。漆料多为植物漆，经过调制，髹涂于木雕器物的外表，起保护、装饰之用。颜料、金属粉箔则按实际需要描绘或粘贴于器表，进一步强化装饰效果。 Common materials used in Chaozhou woodcarving can be put into the four categories of wood, lacquer, pigment and foil. Common woods include camphor, chinafir, chinaberry and rosewood, among which camphor and chinafir are commonest. Lacquer is usually made from plant and is applied to the surface of the woodcarving works for protection and decoration. Pigment and foil are painted or coated to the surface to further improve the decorative effect according to the actual needs. 展品：樟木标本                  BW01-1  长40、直径20 Camphor 展品：樟木标本                BW01-2  长40×宽25×厚3 Camphor 说明：樟木是潮州木雕的首选木料，分黄樟、红樟、乌肚樟、灰白樟等多种，以山区出产的黄樟为最佳。樟木有浓郁的樟脑香味，木质柔润，纹理细密，耐浸、耐湿、不易变形，硬度与韧性适中，容易加工，具有易入刀、不易崩、防虫蛀等优点，适宜于雕刻精细的浮雕、圆雕和多层镂空通雕。 This is the first choice for Chaozhou woodcarving and comes in various shades of colors, such as yellow, red, black and grey, among which yellow camphor from the mountainous areas is the best. Camphor features a strong scent of camenthol, soft and smooth quality and fine texture. With a resistance against soaking and wetting, it is insusceptible to deformation. With the right hardness and toughness for carving, the wood is easy to process and work through and is insusceptible to breaking or worm eating. This makes it suitable for delicate carving ,such as relief, altorelievo, and multilayer openwork,. 展品：杉木标本                  BW02-1    长40、直径20 Chinafir 展品：杉木标本                  BW02-2    长40×宽25×厚3 Chinafir 说明： 杉木木纹平直，结构细致，质地轻松，容易加工，能耐朽，收缩变形小，但纹理直，缺韧性，雕刻易崩缺、起“毛”，故不宜作精细的镂通雕刻，多用于建筑物或大型家具上，作粗放的装饰性雕刻。 With straight grains, fine texture and light quality, chinafir is easy to process, insusceptible to rotting and excessive shrinking. However, the straight grains are accompanied by poor toughness and susceptibility to breaking and rough surface, thus the wood is unsuitable for fine openwork and is usually used for coarse decoration in buildings and large furniture. 展品：苦楝木标本              BW03-1    长40、直径20 Chinaberry 展品：苦楝木标本              BW03-2    长40×宽25×厚3 Chinaberry 说明：北方称为“楝椅”，广东人又称之为“森木”。木纹美观，强度与变形性能类似樟木，容易加工。多用来制作床、橱柜等家具，装饰以沉雕、浮雕为主，不宜作多层通雕。 This wood has beautiful grains with similar hardness and deformation resistance to camphor. Easily processed, it is usually used in beds and cabinets. Decoration on chinaberry comes mostly in intaglio and relief carving, not multilayer openwork. 展品：花梨木标本  BW04-1    长40、直径20 Rosewood  展品：花梨木标本              BW04-2    长40×宽25×厚3 Rosewood 说明：花梨木品种较多，属于硬木类，按材质颜色分为红花梨、白花梨两种，以白花梨最常见，多从泰国、缅甸等国进口。花梨木质地坚硬，木纹清晰美观，多用来做床脚，雕成虎爪、狮爪等形状，美观耐用。 This hard wood comes in various types and is often categorized into red rosewood and white rosewood according to the color. White rosewood is commoner and is mostly imported from Thailand and Burma. Hard with clear and beautiful grains, rosewood is often made into lasting and beautiful bed legs in such shapes as tiger paws and lion paws. 图片：漆料（生漆、熟漆、金胶漆） BT01 Lacquer (raw lacquer, refined lacquer and gold size) 说明： 潮州木雕所用漆料多为植物漆，分生漆、熟漆两种。生漆是经过过滤的天然漆树汁液；熟漆即经过炼制的漆，是在生漆中加入适量桐油，在太阳光的热晒下不停地搅拌三、四天，使漆的性能变得柔和而有光泽，并且不易干燥，以便粘贴金箔。金胶漆是粘贴金、银箔或金银粉的粘合剂，又称贴金漆、浑金漆，以生漆加热桐油调制而成，并加入适量朱砂，使所贴的金箔显得更加艳丽。 Most lacquer used in Chaozhou woodcarving is made from plant and comes in either raw lacquer or refined lacquer. Raw lacquer is the filtered extract from natural lacquer plant (usu. cashew) while refined lacquer is the mixture of raw lacquer and a suitable amount of Chinese wood oil. This mixture is kept under continuous mixing in the sun for three or four days to make it soft, glossy and uneasy to dry for the convenience of foil coating. Gold size is the glue for gold or silver foil or powder. It is a mixture of filtered raw lacquer, hot Chinese wood oil and a suitable amount of cinnabar, which adds to the glow of the foil coating. 展品：颜料一组  BW06 Pigment 说明： 潮州木雕常用的颜料有正银朱、黄漂、红丹、乌烟、铜绿、砂绿、孔雀蓝、酞酯蓝、石黄、藤黄等。其用途一是加入漆料，调配成色漆。在漆料中调入红颜料，可使金箔的颜色更加辉煌亮丽。二是根据装饰需要调配各色颜料，髹涂于木雕饰件的外表，或用平涂、没骨、钩填等技法在器物漆面上绘画各种纹饰。 The common pigment used in Chaozhou woodcarving comes in vermilion, permanent red, black, bronze green, sand green, peacock blue, blue, orpiment, gamboges, etc. One use of the pigment is to add color to lacquer through mixing. Chaozhou woodcarvers tend to add red colors to lacquer to achieve an extra shine in the foil coating. Another use of the pigment is to mix it to different shades of colors and paint it to the surface of the woodcarving works or to paint different decorative patterns on the lacquered surface of utensils through different techniques. 展品：金箔、银箔、锡箔、铝箔、铜粉 Gold foil, silver foil, tin foil, aluminum foil, brass powder 说明： 潮州木雕流行粘贴或髹涂金属粉箔的装饰手法，所敷贴的金属粉箔主要有金箔、银箔、锡箔、铝箔、铜粉（俗称金粉）等，其中以金箔最为常用。髹漆贴金装饰是潮州木雕的主要特点之一，故又有“金漆木雕”之称。 Foil coating and painting are popular in Chaozhou woodcarving. Common foils are gold foil, silver foil, tin foil, aluminum foil and brass powder (commonly known as gold powder), among which gold foil is commonest. As foil coating and painting is one of its major features, Chaozhou woodcarving is also known as gilt woodcarving. 第二单元 工具 Tools [单元导言] 潮州木雕艺人所用的工具多种多样，按其功能可分为选材取坯工具、雕刻工具、调漆工具、打磨工具、髹涂工具、描绘工具、敷贴工具等七大类。 Chaozhou woodcarvers use a variety of tools in their work, which can be categorized according to function into shaping tools, carving tools, mixing tools, grinding tools, coating tools, painting tools, and pasting tools. 展品：叩槌  BW08    长30×宽13×高10 Wooden hammer  说明： 叩槌是木雕艺人雕刻时用来敲击雕刻刀具的槌子，俗称“叩槌”。槌身为坚实的龙眼木，槌柄则为杂木。木质叩槌具有弹性，起缓冲作用，便于控制敲击力度，是木雕艺人不可缺少的工具。 This is used to strike the chisel during carving. The head of the hammer is made of longan wood while the handle of any available wood. The springy wooden hammer offers a buffer in striking and thus facilitates the control of striking force. It is an indispensable tool for woodcarvers. 展品：弓把、夹仔（待征集）BW09 长30×宽20 Bow and clamp 说明：弓把、夹仔用于起草图、量比例或作圆规。 This is used for drafting, scaling or drawing arcs. 展品：单手钢线锯          BW10－1  长58×宽40×高4 Steel wire saw  展品：双手钢线锯          BW10－2  长58×宽40×高4 Steel wire saw 说明：钢线锯用硬木作锯弓，用铁勾将有锯齿的钢线锯条固定在锯弓的两头，大小可根据实际用途而定。单手操作的，称为单手锯，双手操作的称为双手锯。钢线锯操作方便灵活，多用以锯割较规则的几何图案或花卉纹。 This is easily installed by fixing a steel wire with teeth on both ends of a bow of hard wood. It comes in any size as applicable. The saw can be made for the convenience of a single hand or both hands. The user-friendly saw is usually used to cut regular geometric patterns or patterns of flowers. 展品：方凿刀            BW13－1    长约25 Square chisel  说明： 方凿刀又叫平口刀，刀口平直，主要用于雕削平面部位，如亭台楼阁的屋顶、瓦片、梁柱以及浮雕的地子等等。 Also called flat-edge chisel, this chisel is used to carve and cut plain parts such as the roof, tiles, beams and columns of buildings and the background of relief. 展品：方湖刀l                  BW13－2    长约25 Arched square chisel 说明： 刀口略呈弧形，是镂凿形像粗坯的重要工具之一，善于表现稍有弧度的部位，如人物的头部、肩部等。 With a slightly arched edge, this chisel is an important tool for cutting and carving the rough shape of images. It is suitable for slightly arched positions such as the head and shoulder of a human figure. 展品：圆凿刀                      BW13－3      长约25 Round chisel  说明： 刀口呈圆弧形，弧度较大，规格多样，用于雕刻物像的凸圆形、凹痕处、弧形衣纹以及花卉的花、叶等。 This kind of chisel comes in broadly-arched edges of various degrees for protruding and concave arcs, arched clothes patterns and flowers and leaves, etc. 展品：挠凿刀                            BW13－4      长约25 Triangle Chisel 说明： 挠凿刀又称三角刀，刀刃呈三角形，刀的左右两侧成封面，锋利焦点在中角上，规格多种，用于雕削其它刀具难以触及的深层部位。 This kind of chisel comes in triangle edges with two blades on the left and right sides. The sharp edge focuses on the central angle with a variety of specifications for carving the deeper parts that are hard to reach. 展品：雕刀                      BW13－5    长约25 Carving knife 说明： 刀刃成锐角形，操作时如执笔般灵活走动，用于刻划线条、花纹，如衣褶、叶脉等。 The blade of this knife, in the shape of an acute angle, can be driven flexibly like a pen to cut lines and patterns such as pleats and venations. 展品：毛尾刀                BW13－6    长约25 Hair-tail knife 说明： 镂空雕刻的特制刀具，刀刃为长锐角形，用于纹饰侧面的造型刻划，如雕削树干的杈枝等。 This special knife for openwork features a blade in the shape of a long acute angle for the carving of images on the side of the patterns, such as twigs of trees. 展品：磨刀石（油石、粉石、乌石）      BW14  各长20、宽7.5、厚5 Whetstone（coarse-honing whetstone, medium-honing whetstone and fine-honing whetstone） 说明： 磨刀石是用来磨利刀、凿等工具的专用石块，按石质的粗细分为油石、粉石、乌石三种。油石去铁，粉石生刃，乌石起光。磨刀时按油石、粉石、乌石的先后次序进行。 The whetstone is a special piece of stone for honing knives and chisels. It is categorized into three types according to the fineness of its grains: coarse-honing whetstone, medium-honing whetstone and fine-honing whetstone, respectively for thinning, sharpening and smoothing. Honing of tools is conducted in sequence on coarse-honing, medium-honing and fine-honing whetstones. 展品：铁笔                              BW15长约15 Iron pen  说明： 铁笔是一种特制的刻划工具，笔尖为铁质或钢质，使用时手执笔杆，在金漆画上刻划出物像的细部纹饰，如人的须发、衣服的花纹图案、花叶的脉络等。 Held at the shaft like a pen, this special tracing tool with an iron or steel point is used to carve the fine lines on the gilt painting such as hairs, patterns on the clothes and leaf venations. 展品：漆刷                      BW16长20×宽6×厚1 Lacquer brush 说明： 漆刷是用来髹涂漆料的工具，有多种规格，制作原料主要有人发、牛毛、猪鬃三种。上漆时，要根据髹涂需要准备尺寸不同的漆刷。 This tool for applying lacquer comes in various sizes and in three main materials: human hair, ox hair and bristle. Brushes of different sizes are prepared according to needs before painting. 展品：排笔                    BW17长15×宽6×厚1 Broad brush 说明： 排笔是用来髹涂容易流动的液体涂料的工具，通常以软性毛制成，尺寸大小以排管多少为准。 Made of soft hair, this tool comes in various sizes for the application of fluid coating. Its size is adjustable by varying the number of tubes. 展品：描绘工具（漆绘笔、描线笔、扫笔、绘画笔）BW18 Drawing tools (painting brush, line brush, cleaning brush, drawing brush) 说明： 描绘工具是在器物的漆面上描绘图案纹饰的工具，主要有漆绘笔、描线笔、扫笔、绘画笔等数种。漆绘笔用动物毛制成，以鼠毛最佳。描线笔用纯狼毫制成，笔毛长而细，用于勾画线条。扫笔用羊毛制成，用于清扫装饰部位的金属粉末和灰尘。 These are tools to draw patterns on the lacquered surface of articles, consisting mainly of painting brushes, line brushes, cleaning brushes and drawing brushes. The painting brush is made of animal hair, best of mouse hair. The line brush is made of wolf hair into a long and narrow shape for drawing lines. The cleaning brush is made of goat hair for clearing the decorated positions of metal utensils and dust.                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                      图片：常用刀具用法示意图一组            Common knives 1、方凿刀、方胡刀、圆凿刀在取形象坯形时的持刀法 2、毛尾刀持刀法 3、雕刀的持法 1.   2. 3. 4. 4、方凿刀、方胡刀、挠凿刀在细雕刻时的持刀法 展品：滤漆架      　长  宽  高(用于生产场景) Filtering stand                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                          第三单元 雕刻技法 Techniques [单元导言] 潮州木雕的传统雕刻技法主要有沉雕、浮雕、通雕和圆雕四种，其中以多层次的镂通雕最具特色。木雕艺人可根据不同的装饰部位和艺术要求而灵活运用，各施其技，力求做到美观实用。 The traditional carving techniques in Chaozhou woodcarving are mainly four: relieve, intaglio, altorelievo and openwork, among which multilayer openwork is most typical. The woodcarvers adapt their techniques to different positions and artistic needs for better effects of beauty and application. 第一组 沉雕 Intaglio [组导言] 沉雕即阴刻，图案纹饰低凹于木料平面，雕刻简便省工，纹饰不易受损，多用于房门、屏风门、橱柜门等建筑和家具饰件上容易受损的部位。纹饰以花木虫鸟最常见。构图疏朗，刀法简练，画意浓郁。 Intaglio is a pattern carved into or beneath the surface of the wood. As this kind of carving is easily accomplished with little damage to the patterns, it is often applied to susceptible positions on room doors, screen doors, cabinet doors and other furniture. The commonest patterns are flowers, trees, insects and birds. The elements are thinly scattered and plainly carved, much after the style of traditional Chinese paintings. 展品：沉雕兰花花板                      长37×宽17 ×高1.5 Plank in intaglio with orchid patterns 展品：沉雕花鸟纹屏风门肚                长36×宽12×厚2 Door panel in intaglio with patterns of flowers and birds 展品：沉雕花鸟花板（一对）              各高40×宽23.5×厚3 Screen door panel in intaglio with patterns of flowers and birds 第二组 浮雕　 Relief [组导言] 浮雕又称阳雕，所雕图案纹饰凹凸起伏于木料平面，并有地子作衬托。按图案纹饰浮突的高低又有浅浮、中浮、高浮之分。通常，浮突1厘米属浅浮雕，浮突2厘米的属中浮雕，浮突3厘米以上的属高浮雕。高浮雕又有“打浮”、“叠浮”、“钉浮”之别。 Relief is the projection of patterns from the surface of the wood with a flat background. Relief can take the form of low relief, medium relief and high relief according to the degree of projection. Usually a projection of 1 cm is low relief, a projection of 2 cm is medium relief while that higher than 3 cm is called high relief. High relief is further categorized into struck relief, superposed relief, nailed relief.                展品：（清代）高浮雕双凤牡丹纹花板      H528    长44×宽16×厚4 Plank in relief with the pattern of double phoenixes and peony（Qing Dynasty） 展品：（清代）“打浮”菱花地龙凤八仙纹花板 H235-1长64×宽39×厚4 Plank in struck relief with the pattern of dragons, phoenixes and the Eight Immortals on the background of diamond patterns（Qing Dynasty） 说明：“打浮”是潮州木雕传统浮雕技法之一，其方法是在整块木料上浮雕景物，将景物之外的空间铲平，使之略低于景物的平面，再雕刻图案纹样作为衬地，并将板面镂通。因以木槌敲打凿刀将板面凿通，故谓之“打浮”。 In this kind of relief, images are carved on the whole piece of wood while the remaining part is smoothed into a plain lower than the images to form the background, which is then patterned. The plank is then chiseled through, hence the name struck relief, as a wooden hammer is used to strike the chisel through the plank. 展品：（清代）“叠浮”人物故事花板 H472    长60×宽23×厚5 Plank in superposed relief featuring figures and stories（Qing Dynasty） 说明：叠浮是指镂空衬地图案与浮雕主体物像是以两块木料分别雕刻制作，然后叠在一起，用粘胶固定成为一件完整的木雕。 This style features the superposition of the major images on the background, both in high relief but each on a separate plank, which is stuck together with glue. 第三组 圆雕 Altorelievo [组导言] 圆雕是立体雕刻，物像形体的四面皆可欣赏。其技法是先将多余的部分锯去，粗雕出主体和陪衬部分的轮廓，再从上至下，由表至里，逐层凿削，先粗雕，后细雕，再细刻磨光部分。圆雕多用于建筑饰件、礼祭器具以及家具陈设的局部构件。单独陈设于几架上的圆雕摆件出现较晚。 Altorelievo gives a three-dimensional effect that can be viewed from any angle of the image or object. The first step of this technique is to saw off unwanted parts and carve the rough shape of the main body and background. Then the details are carved layer by layer in a top-down and outside-in manner, following the sequence of rough shaping before elaboration. Altorelievo is often used in components of decorative utensils in buildings, ceremonial utensils and furnishings. Independent furnishings for display in altorelievo appeared very late. 展品：（清代）圆雕狮子 H1629-1、2    高30×宽21×厚14  Lions in altorelievo（Qing Dynasty）  第四组 通雕 Openwork [组导言] 通雕又称透雕，是吸收沉雕、浮雕、圆雕和绘画的长处，融合变通而成，物像形体作多层次布局，物像之外的部位通体穿透。通雕层次的多少，视材质厚薄和雕刻技艺高低而定，少则二三层，多则四五层，超过七层者极为少见。通雕又分锯通雕、多层镂通雕两种形式。 This style is the evolution from intaglio, relief, altorelievo and painting, with multilayer composition of images and complete opening at positions without images. The number of layers, dependent on both the thickness of the wood and the skills of the woodcarvers, usually ranges from two to five, rarely more than seven. Openwork can take the form of either sawn openwork or carved openwork. 展品：（清代）锯通雕五福临门窗花      H329高50×宽37×厚2  Window grille in sawn openwork featuring the theme of Five Blessings Coming to the Family（Qing Dynasty）  说明： 锯通雕是先在裁截好的木料上画好图样，然后用钢线锯沿着图样的轮廓线锯出所需要的图像，再以雕刻刀修整锯通的洞眼并对图像略加雕饰而成。锯通雕制作简单便捷，宜于表现线条规整的单层景物。  Sawn openwork is made by sawing out the desired image with a steel wire saw along the contour line drawn on the wood in advance. This is followed by trimming of the holes and slight decoration of the images with a carving knife. This easily-achieved style is suitable for single-layer images with regular lines. 展品：（清代）多层镂通雕人物故事花板  BW48高45×宽20×厚9 Patterned plank in multilayer openwork featuring figures and stories（Qing Dynasty） 说明： 多层镂通雕是在裁整好的木料上作多层次雕刻，体积深厚、丰满，物像层层叠叠，交错穿插，具有玲珑剔透的效果。适合表现人物众多、情节复杂、场面宏大、景物丰富的题材，最能体现潮州木雕的雕刻水平和艺术特色。 Multilayer openwork is the carving on various layers of the same piece of wood, creating rich, in-depth, overlapping and interwoven images and an exquisite effect. Suitable for themes with numerous figures, complicated plots, grand views and rich scenery, this style is the best representative of the level and characteristics of Chaozhou woodcarving. 第四单元 制作工序 Work Process [单元导言] 潮州木雕的制作有一系列的工艺程序，以髹漆贴金木雕为例，其制作过程可分为整料、起草图、上草图、凿粗坯、细雕刻、髹漆贴金等六道工序。 The production of Chaozhou woodcarving follows a series of procedures. Take lacquered and foil-coated woodcarving for example, the process undergoes six steps: material preparation, drafting, printing, rough shaping, fine carving and coating. 图片：整料    Material preparation 说明： 整料就是根据装饰部位和雕刻题材挑选合适的木料，对于大件器物，如难以找到完整的木料或者为了降低成本，可采取变通的办法，将几块材料拼接在一起。 This involves the selection of suitable wood according to the position and theme of the desired carving. In case of difficulty to find a complete timber for a large utensil, or in need of cost reduction, connection of several pieces can be accepted as an alternative. 图片：起草图          （须修底、重新排版） Drafting 说明： 指雕刻之前，根据装饰部位、雕刻要求及所用材料等具体情况，构思并画好图稿，一般用毛笔以白描手法绘制。对于多层次的镂空雕刻，起草图时要深思熟虑，照顾到各个层次。 Before carving, the desired images are drafted in black ink with a drawing brush on a piece of paper according to the position, theme and material of the desired carving. Special care is necessary for multilayer openwork so that different layers can be taken into consideration. 图片：上草图              （须修底、重新排版） Printing 说明： 上草图的传统方法是在草图的反面用柔软的木炭或灯烟描绘一遍，然后准确地把图纸压在需要雕刻的木料上，用手均匀地压抹，图案即可印在木料上。现在多采用复印的办法，将草图的复印件直接贴在木料上，按图雕凿，方便快捷，省工省时。 The traditional way is to trace the lines on the back of the draft with soft charcoal or lamp black and then press the paper against the prepared wood. Pressing and rubbing the paper with even force from the hand will leave the drafted pattern on the wood. The modern way is to directly paste the photocopied draft on the wood and follow the lines in carving. This easier way saves efforts and time. 图片：凿粗坯        Rough shaping 说明： 上好草图后，即开始雕刻的第一道工序----凿粗坯，打凿出作品的大体轮廓和结构。打凿时，一般是由上至下，由表及里。要考虑木材的质地纹路，讲究构图布局，注意人物景观的比例和景物体积容量。还要考虑沿厚度方向每层的厚薄安排。凿粗坯是很关键的一道工序，决定着作品的成败，故多由经验丰富的老艺人亲自把关。 After printing comes the first step of real carving. Rough shaping yields the basic contour and structure of the carving in the top-down and outside-in sequence. Consideration is taken of the quality and texture of the wood, the theme of the carving, the scale and size of the scenery and images, as well as the thickness of each layer. Rough shaping is an essential step that decides the outcome of the carving, and consequently it is usually done by experienced woodcarvers. 图片：细雕刻      Fine carving 说明： 在粗坯定形的基础上，先将外层的形体修削平滑，再深入内层，完成人物神态、衣饰装扮、树木枝叶、脉络等细部雕刻，完善作品。 With a rough shape, the outer surface of the images is to be trimmed and smoothed first, followed by the refining of the inner layers as well as elaboration of the details such as expressions and manners of human figures, clothes and ornaments, twigs, leaves and venations. This brings the carving to perfection. 图片：髹漆贴金  Coating    说明：髹漆贴金是潮州木雕最常见的装饰手法，即在雕刻工序完成后，在器物表面髹涂漆料三遍以上，然后上再涂上一层金胶漆，放入特设的漆房晾干，待金胶漆层将干未干之时，在无风的场所，用软刷将金箔逐片擦粘在木雕表面上，敷贴金箔的木雕作品具有金光闪闪、豪华富丽的装饰效果。 Lacquering and foil coating is widely applied in Chaozhou woodcarving. After the carving steps, the surface of the utensils lacquered and coated with foil when the lacquer is half dry, which brings a glittering and glowing effect to the article. The coating process usually takes six steps: curing, filtering, filling, painting, drying and coating. 第三部分 艺术篇 Art [部导言] 潮州木雕经过一代又一代艺人的实践和摸索，不断吸收其它门类艺术的精华，熔中国传统文化和地方民俗文化于一炉，并迎合潮汕人的审美情趣和生活需求，逐步形成了题材丰富、构图饱满、精巧细腻、玲珑剔透、金碧辉煌的艺术特点，成为中国民间传统木雕的一朵奇葩。 Having been practised and explored by generation after generation of woodcarvers, Chaozhou woodcarving has absorbed the essence of other forms of art, combined traditional Chinese culture and local folk culture, and catered to the sense of beauty and needs of life of the Chaozhou-Shantou people. All these craftsmanship and grand look，efforts have contributed to the artistic features of a broad range of themes, richness and subtlety of details, delicate and elaborate design, exquisite which make Chaozhou woodcarving a most beautiful flower in traditional Chinese folk woodcarving. 第一单元 丰富多彩的题材内容 Variety of Themes [单元导言] 潮州木雕题材广泛，内容丰富，除了民间广泛流传的历史典故、戏剧故事、人物山水、吉祥图案等传统题材以外，还包括人们喜闻乐见的地方风物、民间传说、民俗生活等内容，具有浓厚的生活气息和鲜明的地方特色，概括起来可分为三大类，即人物类、自然物像类、几何图案类。 The variety of themes in Chaozhou woodcarving not only includes such traditional themes as stories from history, plays, human figures, landscapes and auspicious patterns, but also includes local productions and scenery, legends and folklores as well as customs and the life of ordinary people, which gives it a strong sense of life and local characteristics. These themes can be categorized into three major types, i.e., human figures, natural images and geometric patterns. 第一组 人物类 Human Figures [组导言] 人物类题材包括民间广泛流传的历史典故、戏剧曲艺、民间故事、神话传说以及现实社会生活等方面。特点是以人物为中心，具有一定的故事情节，符合传统的伦理道德观念，既可满足人们的审美需求，又具有成教化、助人伦的作用。 This type of theme includes stories from history, plays and operas, novels, legends and folklore, fairy tales and myths as well as various aspects of real life. The common feature of these themes is to focus on human beings. As they entail certain stories in line with traditional moral standards, they not only cater to people’s sense of beauty, but also help to enhance moral teaching. 展品：（清代）通雕郭子仪庆寿花板 H233      高72×宽47×厚5 Patterned plank in openwork featuring the story of Guo Ziyi Celebrating His Birthday（Qing Dynasty）    说明： 郭子仪庆寿是潮州木雕的传统题材。郭子仪为唐朝大将，今陕西华县人，以武功累官至天德军使兼九原太守，因平定安史之乱有功，拜为中书令，封汾阳郡王。相传有七子八婿，均为朝廷大员，每逢庆寿，隆重非常。郭子仪享寿84岁，官运亨通，子孙满堂，在封建社会被尊为“富贵寿考”、“繁衍安泰”的象征。 This is a traditional theme in Chaozhou woodcarving. Guo Ziyi was a general in the Tang Dynasty ,a native of today’s Huaxian County in Shannxi, who military exploits won him the position of Governor of Tiande Province and Prefect of Jiuyuan Prefecture. His contributions in the pacification of the Rebellion of An Lushan and Shi Siming promoted him to Prime Minister and the honorary title of King of Fenyang County. It is said that Guo had seven sons and eight sons-in-law, all high officials of the imperial court. Therefore, celebration of Guo’s birthday was grand. As Guo died at the age of 84, enjoyed high positions and had a lot of offspring, he was seen as a symbol of “wealthy and longevity” and “multiplication and peace” in the past. 展品：（清代）金漆木雕耕织图花板 （一对）H470 高70×宽15×厚6                      Gilt wood plank featuring the pattern of farming and weaving（Qing Dynasty） 展品：（清代）金漆木雕渔樵耕读花板 H1131    高40×宽17×厚3 Gilt wood plank featuring the patterns of fishing, wood chopping, farming and learning（Qing Dynasty）          展品：（清代）通雕人物故事花板  H448      长49×宽29×厚9 Patterned plank in openwork featuring figures and stories（Qing Dynasty） 第二组 自然物像类 Natural Images [组导言] 自然物像类题材是指以动植物、山水风景等自然景物以及人们日常使用的各类器具什物作为主体。或直接描绘刻划，或按一定的主观意念，以自然为母本，创造出不同寓意的各种吉祥图案，从侧面反映了人们崇拜祖先、追求富贵、祈求吉祥、向往功名以及忠、孝、节、义等传统思想观念。 This kind of theme features natural images such as animals and plants, landscape and scenery, as well as various utensils used in daily life. These images are either directly depicted or transformed according to certain conceptions into various auspicious patterns with different significances. They are the indirect reflection of traditional worship of ancestors, pursuit of wealth and honor, longing for position and reputation, as well as approval of such merits of loyalty, unrighteousness, integrity, and filial piety. 展品：（清代）通雕鹤鹿同春花板  H267        长68×宽45×厚4 Plank in openwork with patterns of cranes and deer in spring（Qing Dynasty） 展品：（清代）通雕松竹绵羊花板 H910        长35×宽18×厚3 Plank in openwork with the pattern of pine, bamboo and sheep（Qing Dynasty） 展品：（清代）通雕花卉瓜果纹花板 H246        高76×宽35×厚5 Plank in openwork with patterns of flowers and fruits（Qing Dynasty） 展品：（清代）通雕鱼藻纹花板  H994        长28×宽15×厚2 Plank in openwork with patterns of fish and algae（Qing Dynasty） 展品：（清代）通雕鲤鱼跳龙门花板 H252        长70×宽39×厚4 Patterned plank in openwork featuring the tale of Carp Leaping the Dragon’s Gate（Qing Dynasty） 第三组 几何图案类 Geometric Patterns [组导言] 几何图案类题材是指由点、线以及正方形、三角形、六角形、圆形等几何形体组合成具有审美价值的图像。主要用于门窗、横披、格窗以及多层镂通雕的“地子”。主要形式有：步步紧、拐子纹、回纹、套环、龟背纹等，雕刻手法以锯通雕为最多，具有较强的装饰效果。 These are patterns consisting of such geometric shapes as dots, lines, squares, triangles, hexagons and circles in aesthetic combination. Mainly applied to doors, windows, horizontal hanging scrolls, panes, and the background of multilayer openwork, the major patterns include overlapping squares, zigzagging lines, looping lines, overlapping circles and linking hexagons. Sawn openwork is the commonest carving style, which enhances the decorative effects of the carving. 展品：（清代）几何纹花板      CW30  H360  长70×宽50×厚6 Plank with geometric patterns（Qing Dynasty） 展品：回纹窗花                              CW33长82×宽34×厚5 Window grille with looping line 展品：几何纹窗花                          CW34长 100×宽55×厚5 Window grille with geometric pattern 第二单元 形式多样的构图布局 Diversity of Composition [单元导言] 潮州木雕善于充分利用空间，物像平列铺陈，不作或少作重叠，各个物像清晰可见。惯于将不同时空的人物或场景安排在同一个画面中。画面结构常作对称布局，主体物象居中，次要物象作左右或上下对称安排，具有构图丰满、布局匀称、和谐庄重的艺术特点。其构图布局可概括为三种形式：格律体构图、平视体构图、立视体构图。 Full use of space is an advantage of Chaozhou woodcarving. The images are mostly laid out on the same plain with little or no superposition, so that each image is conspicuous. In the same manner, figures or scenes of different time and space are placed in the same frame, usually a symmetric one, with the major image in the middle and secondary images arranged symmetrically to the four sides. This brings rich composition, regular layout and harmonious and solemn air to the carving. There are three types of composition in Chaozhou woodcarving: metrical composition, isometric composition and perspective composition. 第一组 格律体构图 Metric Composition [组导言] 格律体构图是以曲、直、方、圆等几何形体为架构，在规矩中求变化，通过巧妙构思，从上下、左右、大小、主宾、虚实等方面灵活安排，创造出千差万别又结构严谨的图案，具有交代清楚、脉络分明、均衡匀称、节奏感强的特点。 This composition is based on the basic arrangement made up of geometric shapes, curved, straight, square or round ones. Upon elaborate planning, transformation is made to the regular shapes in their vertical position, transverse position, size, focus, salience, etc., which creates varied though precisely structured patterns. Such a composition features clear narration, logical arrangement, balanced scale and strong rhythm. 展品：（清代）通雕单凤朝阳帐顶      H263    长42×宽42×厚3 Curtain top in openwork featuring the pattern of a phoenix facing the sun（Qing Dynasty） 展品：（清代）通雕夔龙蝙蝠纹窗花  H253-2  长50×宽37×厚2 Screen in openwork with patterns of vases, flowers and archaic dragons（Qing Dynasty） 展品：（清代）通雕瓶花夔龙纹屏风门肚    H251    长74×宽43×厚2  Door panel in openwork featuring the patterns of vase and archaic dragon（Qing Dynasty） 展品：（清代）通雕九蝠捧寿龛门肚      H315  长68×宽40×厚4  Shrine door panel in openwork with the auspicious pattern of nine bats delivering longevit（Qing Dynasty） 说明：这件门肚以民间传统的福寿吉祥为主题，高浮雕的菱花形开光（俗称“蟹壳”）内通雕一“寿”字，并以蝙蝠、葫芦瓜等围绕衬托，开光外四角饰以蝙蝠纹，取“代代福寿”之意。作品构图丰满，布局匀称，具有浓厚的富贵吉祥气氛。 This shrine door panel is designed with traditional auspicious theme of longevity and happiness .The diamond reserved panel is carved with a Chinese character “Shou”(longevity) surrounded with bats and gourd patterns at the corner , implying "Happiness ".  It has a strong atmosphere of wealth and good fortune , full in composition and symmetry in layout. 第二组 平视体构图 Isometric Composition [组导言] 平视体构图是把物像的个性、特征加以概括提炼，适度夸张变形，突出轮廓特征，然后将其形像用排比重复的方式安排成一个平面，无远近透视，形像的重心在一条视平线上，作平面处理。构图自由，富于装饰性，多用于自然物像类题材。 This is a non-perspective composition, which gives prominence to generalized and exaggerated features of images and arranges them on a plain in a repeated array. The focus of image is on a single eye line, which decides the plain. Such a free and decorative composition is often used for natural images. 展品：（清代）通雕喜鹊牡丹花板  H1019      长84×宽17×厚4 Plank in openwork with the pattern of magpie and peony（Qing Dynasty） 展品：（清代）通雕茶花喜鹊花板      H1027  长69×宽20×厚4 Plank in relief with the pattern of camellia and magpie（Qing Dynasty） 展品：（清代）通雕莲花鹭鸶纹花板  H541      长80×宽17×厚8 Plank in openwork with the pattern of lotus flowers and bitterns（Qing Dynasty） 第三组 立视体构图 Perspective Composition [组导言] 立视体构图是在平视体的基础上，作散点透视，以大观小，空间不受透视的限制，根据需要对衬景进行灵活取舍，突出人物主体。其具体表现手法主要有两种：一是主体居中，画面向两边同时倾斜，多用于人物故事类题材；二是同时看物像的左右侧面，倾斜度小于45°，多用于浮雕博古花鸟等纹饰。 The perspective composition of Chaozhou woodcarving is essentially cavalier perspective based on isometric composition, which aims to give prominence to the main figure through adaptive selection of background scenery. This is achieved in two major ways. One is to place the main figure in middle with the background sloping to both sides, which is often used for figures and stories. The other is to distinguish the side views of images with a slope of smaller than 45 degrees, which is often used for ancient patterns and patterns of flowers and birds. 展品：（清代）金漆木雕人物故事花板    H1127  长66×宽20×厚6 Gilt wood plank featuring the patterns of figures and stories（Qing Dynasty） 展品：（清代）通雕赵云救阿斗花H1115      长66×宽20×厚6 Plank in openwork featuring the story of Zhao Yu Saving A’Dou（Qing Dynasty） 展品：（清代）通雕人物故事门肚  H264    高80×宽60×厚6 Door panel in openwork featuring the pattern of figures and stories（Qing Dynasty） 第三单元 灵活多变的艺术手法 Adaptability of Artistic Skills [单元导言] 为迎合人们的审美趣味，并使不同的装饰部位均能达到理想的观赏效果，木雕艺人经过长期的实践，摸索出多种独特的艺术处理手法，如周身布饰、巧设路径、合理夸张等。 To cater to the aesthetic needs of people and achieve ideal effects at different positions of decoration, woodcarvers have created various unique skills through ages of practice, such as spread decoration, artful cohesion and exaggeration. 第一组 周身布饰 Spread Decoration [组导言] 潮州木雕追求饱满繁复的效果，其中以清代鼎盛阶段的木雕作品最为显著，人物、景观、花鸟等题材常常布满整个装饰面。 Rich and complicated composition is the pursuit of Chaozhou woodcarving, especially in its prospering days. The frame of a woodcarving is often spread over by figures, scenery, flowers and birds, etc. 展品：（清代）金漆木雕人物故事神龛门肚      H250 长74×宽43×厚2 Gilt wood shrine door panel with design of figures and stories（Qing Dynasty） 展品：（清代）金漆木雕仙人花卉博古纹神龛门肚H308长69×宽43×厚5 Gilt wood shrine door panel with design of figures of celestial beings, patterns of flowers and ancient patterns（Qing Dynasty） 展品：（清代）金漆木雕花卉博古纹神龛门肚 H270  长62×宽40×厚5 Gilt wood shrine door panel with design of flowers and ancient patterns（Qing Dynasty） 第二组 巧设路径 Artful Cohesion [组导言]    为了在有限的装饰面上表现尽可能多的情节内容，木雕艺人往往按照故事情节的发展顺序，截取典型的画面并将其分成几个部分，排列成“之”字形或“S”形，并且注意处理好人物神情、动态的相互呼应和时空过渡，从而组成一个有分有合的整体。 In order to contain as much plots as possible in a limited frame, woodcarvers often select typical events from a story according to its development and divide it into several scenes arranged in a zigzag or S-shape. The expressions and actions of figures in different scenes correspond to each other as the time and place continue themselves, creating a cohesive story with independent parts. 展品：（清代）通雕黄飞虎反五关龛楣花 H1241    长39×宽19×厚2 Gilt Wood shrine head in openwork featuring the story of General Huang Feihu Fighting out of Five Passes（Qing Dynasty） 展品：（清乾隆）金漆木雕“七贤进京”屏风门肚 H245 高74×宽37×厚5 Gilt wood door panel featuring the story of Seven Scholars Going to the Capital fro Imperial Examinations(Qianlong Period of the Qing Dynasty) 说明： “七贤进京”是潮州木雕艺术的著名题材，它把潮州历史上不同时期科举登第、进京为官的七位乡贤的故事融合浓缩在一起，寓海滨邹鲁连科登甲之意。潮州七贤有二说，一为前七贤，即宋代的许申、张口、刘允、林巽、王大宝、卢侗、吴复古；一为后七贤，即明代的林大钦、翁万达、萧端蒙、郭之奇、黄奇遇、许国佐、罗万杰。 Seven Scholars Going to the Capital for Imperial Examinations is a popular theme in Chaozhou woodcarving. The stories of seven scholars passing the imperial examinations and assuming office in the capital in different periods of history are told together for the auspicious connotation of consecutive success in the imperial examinations. There are two versions of the seven scholars, one comprising Xu Shen, Zhang Kou, Liu Yun, Lin Xun, Wang Dabao, Lu Dong and Wu Fugu in the Song Dynasty, the other including Lin Daqin, Weng Wanda, Xiao Duanmeng, Guo Zhiqi, Huang Qiyu, Xu Guozuo, Luo Wanjie in the Ming Dynasty. 第三组 合理夸张 Adequate Exaggeration [组导言] 潮州木雕惯于采取合理的夸张手法，突出表现雕刻题材的动人之处，增加艺术感染力。其夸张处理主要体现在对人物动作、体态的刻划上，强调动势，用动作来表现人物内心。人物刻划不追求正常比例，常常突出头部，头大身小，人大景小，增强了整体装饰力度。 Exaggeration is a common skill used in Chaozhou woodcarving to give prominence to the affecting part of the expressed theme, thus enhancing the impressive power of the work. Exaggeration is mainly carried out in the actions and manners of figures with an emphasis on movement, through which the inner world of figures is exposed. Normal scale is neglected in the depiction of figures, often with an emphasis on the head. The large head in contrast to the small body and the large figures on the background of the small scene adds to the effect of overall decoration. 展品：（清代）通雕人物故事花板 H639、H640      各长45×宽20×厚8 Plank in openwork featuring the patterns of figures and stories（Qing Dynasty） 展品：（清代）王茂生进酒神龛门肚    H347-1  长74×宽43×厚2 Shrine door panel featuring the story of Wang Maosheng Presenting Wine（Qing Dynasty） 说明： 《王茂生进酒》取材于潮剧传统剧目，大意为：薛仁贵因平辽东有功，被封为平辽王，衣锦还乡之日，大宴宾朋，其救命恩人王茂生家贫如洗，无钱买酒，夫妇俩只好抬汾河水一瓮前来庆贺。薛仁贵不忘救命之恩，与王茂生开怀畅饮。此件反映了王茂生夫妇抬“酒”前来庆贺的情景，路径清楚，层次分明，人物神态适度夸张，充满戏剧色彩。 The story is based on the plot of a traditional Chaozhou opera. General Xue Rengui was titled King of Liao Pacification by the emperor as an award for his contributions in the pacification of East Liao rebellion. Returning to hometown, he invited a lot of guests to celebrate this honor. Wang Maosheng, who once saved Xue’s life, was as poor as a church mouse, who didn’t have any money to buy wine . Therefore, Wang and his wife had only to carry an urn of water from the Fenhe River to Xue’s house as his present. The general, however, treasured the favor Wang had done him and drank all the water with him. This work shows the scenes of Wang Maosheng and his wife carrying their “wine” to Xue’s house. The scenes are presented in clear sequence and logical arrangement, with exaggerated expressions and theatrical effect. 第四组 数艺并施 Combined Techniques [组导言] 潮州木雕往往集雕刻、髹漆、贴金、绘画等多种工艺于一身，综合应用，数艺并施，色彩艳丽，豪华庄重，在中国木雕艺术中自成一格。 Various techniques such as carving, lacquering, coating and drawing are combined in Chaozhou woodcarving in a comprehensive way, which gives it a colorful, magnificent and solemn style, accounting for its uniqueness among Chinese woodcarving. 展品：（清代）金漆木雕人物花卉嵌书画小围屏 H351  高85×宽160×厚3 Small gilt wood enclosing screen with patterns of figures and flowers and inlaid with calligraphy and paintings（Qing Dynasty） 展品：（清代）金漆木雕群狮漆画人物故事图菱形馔盒 H735 高29×宽22×厚14 Gilt wood diamond food container with patterns of lions and figures（Qing Dynasty） 第四单元 独具特色的总体装饰 Unique Overall Decoration [单元导言] 潮州木雕非常注意木雕器物或场景性木雕装饰的总体设计，在满足实用功能的前提下，注意从结构的安排、空间的分割、题材的选择、色彩的搭配、构图布局的协调等多方面进行周密设计。其总的特点是讲究整体对称均衡、和谐协调，具有豪华而又庄重的总体风格。其总体装饰主要有黑漆装金、五彩装金、本色素雕三种。 Overall design of utensils and scenic decoration has attracted great attention in Chaozhou woodcarving. Under the prerequisite of meeting practical needs, careful consideration is given to the arrangement of structure, division of space, selection of themes, collocation of colors and the adjustment of composition. The general features are symmetric and balanced composition, harmonious effect and magnificent and solemn style. The overall decoration of Chaozhou woodcarving takes three major forms: foil coating on black lacquer background, foil coating on colorful background and natural color woodcarving. 第一组 黑漆装金 Foil coating on black lacquer background [组导言] 在雕刻部位贴饰金箔，而在雕刻部位以外的空间（即“地子”）髹涂黑漆或黑色推光漆，色彩对比鲜明，风格华丽庄重，是潮州木雕常见的装饰手段。 Carved positions are coated with gold foil against the background of lack lacquer or polished black lacquer. Stark in color contrast and magnificent and solemn in style, this is a common decorative form in Chaozhou woodcarving. 展品：（清代）金漆木雕花鸟人物故事神椟H693    高46×宽38×厚21  Gilt wood shrine featuring the pattern of flowers, birds and figures(Qing Dynasty) 说明：该神椟雕刻技法多样。椟门正背面均镂通雕精美纹饰。门肚采用多层镂通雕的手法，刻潮州七贤进京故事，以“之”字形布局，生动地刻画了潮州七贤策马扬鞭，日夜兼程进京赶考的情景。椟内背板为磨金漆画山水人物图，亭内文人墨客吟诗作对，路上一官人在侍从的护卫下策马前行，小桥流水、山石亭台，以小景致营造大空间。整座神椟造型庄重，装饰华丽。 Different techniques are used for carving this shrine. Both sides of the doors are decorated with fine patterns in sawn openwork. Multilayer carved openwork is used for carving door panels featuring the story of Seven Scholars Going to the Capital for Imperial Examinations in a zigzag shape, which vividly depicts the scene of seven scholars of Chaozhou whipping horses on for imperial examinations. The interior of the shrine is decorated with gold-shined lacquer paintings .The shape is solemn. The decoration is elegant.