Development of Chinese Woodcarvings

     Different from gold and stone, woodware is not easy to preserve. According to archaeological data, China's earliest woodcarvings work could be dated back to the Neolithic period, over seven thousand years ago. It was a "carved wooden fish" unearthed in ruins of Hemudu Culture in Zhejiang. The vivid work had varied patterns of oval fossea carved by the way of intaglio. Woodcarving matured in Qin and Han dynasties. Unearthed wooden oxen and horses of that period were simple and stereo. Craftspeople then had proficiently mastered various carving techniques and began to paint their works to make them lifelike with bright colors.

     After Wei and Jin dynasties, Buddhism became popular followed by the building of temples and pagoda and woodcarving of statues of Buddha, which promoted the development of woodcarving. Tang and Song dynasties witnessed the prosperity of Chinese craft featured by fine and delicate carving, diverse decorative techniques, and broad topics. The woodcarving of Buddha statues had concise modeling and carving skills, known as masterpieces of ancient Chinese artworks. The woodcarving of Ming and Qing dynasties was more detailed than the previous dynasty, featured by mosaic, lacquer coating, and skillful carving skills. The works then adopted common topics about customs and myths, such as, luck symbolized by fish, good harvest by five grains, prosperity by the dragon and the phoenix, peace and ruyi, and longevity by crane and pine tree, to express people's wishes, which were very popular.

(Wooden ox pulling a cart unearthed in a tomb of Han dynasty) (Figure 1)

(Woodcarving with paint. "A sitting statue of Buddha" in the Tang dynasty)

(Figure 2)

(A bed of a lady in a wealthy and influential family during the Ming and Qing dynasties)

(Figure 3)

Source: Shih, M. L.(2008): Study of the Cultural Creative Industry of Wood Carving in Taiwan—Using Lukang Woodcarving as an Example and The Origin and Development of Chinese woodcarving for Seven Thousand Years.
http://big5.ce.cn/gate/big5/art.ce.cn/jjmm/201209/19/t20120919_23693574.shtml

Figure 1: Cited from Gansu Museum

Figure 2: Cited from Chung Tai World

The Development of Taiwanese Woodcarving

     Due to its abundant resource of timber, Taiwan has an extensive application of wooden utensils with diversified styles and unique characteristics. Taiwanese woodcarving can be classified into two systems: "Original Woodcarving Art" of aborigines and "Han Woodcarving Art" originated from Quanzhou, Zhangzhou, and Fuzhou in mainland China. The former adopts patterns and decoration to represent the views on the world and beliefs and artistic styles and record their history and culture of each ethnic group. Since the woodcarving works of ethnic groups have practical value, patterns can only be developed within a limited range with a dozen of totem symbols, mainly including snake, the sun, pot and urn, human shape, deer, wild boar, and geometric lines.

     During the Qing dynasty, craftspeople from Tangshan had their carving business booming in Taiwan and brought in Chinese traditional carving techniques and cultural connotations. Their works were mainly presented by the decoration on traditional temples, architecture, and daily items. Normally, they used refined and mature carving techniques to present the complexity and exquisiteness of patterns. The works at this time showed the superb techniques of craftspeople and rich content. During the Japanese occupation of Taiwan, due to the constantly introduction of Japanese techniques and styles, the decorative carving or carpentry with both the styles of the West and Japan came into being. The style gradually changed to be simpler. For instance, Japanese-style grids, box-shaped Western-style furniture, screens, dressing tables, Inami carving, architectural sculpture had the features of both Tangshan and Japan and became, representing the characteristics of woodcarving of that period.

     After World War II, woodcarvings entered the stage of volume production in factories. The invention of power tools greatly reduced the time of engraving. Customers' shopping orientation controlled the style of products. The change of the whole environment hindered the development of traditional wood industry. In 1985, public sector began to engage in culture and craft and held the "National Art Heritage Award", exerting a significant impact on traditional craft. Academia also conducted research on heritage. Plus, competition and exhibition of woodcarving, Taiwanese woodcarving began to transit, gradually carved the connotation of local style in a delicate manner, and expanded its demand beyond temples. Artistic woodcarving emerged.

     Taiwanese woodcarving absorbed the essence of Tangshan woodcarving and Western and Japanese styles, plus its own geographical and cultural environment, gradually developed into a unique art of woodcarving. From practical architectural woodcarving, to statues of Buddha for worship, even daily items, artistic woodcarving, both "Original and Han woodcarving"--exhibit the width and delicacy of "woodcarving". Along with social change and cultural development, Taiwanese woodcarving has unprecedentedly broad space of creativity and progress and formed a new industrial culture with men of talent coming out in succession.

(Wooden table with the pattern of cottonmouth snake of Rukai people) (Figure 4)

(A caisson ceiling with the shape of eight diagram of Lukang Longshan Temple) (Figure 5)
Magnificent caisson ceiling is a symbol of luxury, exclusive only to the use of palaces and temples
　

(Japanese-style grid) (Figure 6)
Grid is the decorative panel between the sliding door and ceiling of Japanese-style building for the purpose of lighting or ventilation.
　

Source: Chen, C. H.(2007): Tradition and Modernity of Taiwanese Han Woodcarving.
Figure 4: Retrieved from Digital Museum of Taiwan Indigenous People
Figures 5 and 6: Photographed by the team members.
　

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