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Mr. Zhang Changlin, with the style name of Mingshan, began to learn the fabrication of the mud molding from his father since his childhood, and practiced with some stunt skills. When making figure for somebody, what he only need to do was to sit with people face to face, while twisting the mud in his hands, and made his composure and finished the work within a minute. The faces and eyes in the small size are not only lifelike, but also very vivid. The themes for the works of the colorful molding by " Mud Molding Zhang" were very extensive, either reflecting the fold customs, or adopting the materials from the folk story or the dramas on the stage, or directly adopting the materials from the famous classical works like "108 Rebellious Marshals", "the Red Mansion" and "The Story of Three Kingdoms", etc.. He molded the figures not only displaying the vivid shape, but also describing the spirit with the shape, combining the shape and the spirit perfect together.
The colorful mold by "Mud Molding Zhang" applies simple and bright color, with the elaborately selected materials. The mud mold can be preserved vividly and lifelike for a long period without being dried or cracked, enjoying a high reputation in the world.
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The sculpt of Jingdezhen china is very elegant and artistic in various types including high temperature treated color glaze, five-color under the glaze, blue-white, bucket coloring, new pattern, powder coloring and Linglong etc.; the blue-white and Linglong china is in bulk production with rich decoration, strong artistic sense and some are majestic, vigorous and stylish, some are classic and fresh and some are magnificent, brilliant and striking.
The top four traditional Jingdezhen china types are blue-white, Linglong, powder coloring and color glaze. The thin body china is called as a miracle and statuary china is a traditional artware in our country.
Blue-white china was originated in the Yuan Dynasty. The base was drawn with patterns by coloring agent, after spreading glaze, it was burn in high temperature, and the glaze was crystal-clear, transparent, plain and elegant. The blue pigment was melted in the body glaze, though the color was unique, it gave a rich sense. Blue-white china is durable, not fragile and has good fastness.
Linglong china was created and developed on base of the hollowing out craftwork in Xuande Period of the Ming Dynasty with a history over five hundred years. The thin base was carved into rice shaped and thorough hole patterns, then glaze was spread many times to fill in the thorough hole patterns, and then put into the kiln to burn. In the Qing Dynasty, porcelain workers combined blue-white and Linglong in a flexible way and made lovely blue-white and Linglong china which gave a special beauty as the green and bright Linglong and the blue-white added radiance and beauty to each other.
Avoid sunshine: if an inkstone is placed on the desk, it should avoid sunshine, otherwise, it will become dried in the stone texture, and inkstone case will become dried also after a long time under sunshine.
Appreciation: when appreciating an excellent inkstone, it is recommended to place a carpet on the desk to prevent the inkstone from touching on metal and glass utensils; it is also forbidden to pile the inkstone in case of damage by knocking.
The straw patchwork is basically an art of "cut-and-paste", just like paper-cuts. There is a series of complicated procedures to make wheat straw a beautiful artwork. With its unique luster, the straw patchwork is of high value both for decoration and esthetics. Human figures, birds and flowers as well as animals on the patchwork are all very lifelike, revealing an elegant and classic demeanor.
The straw patchwork was originally an imperial art craft during the Sui Dynasty (581-618) but later was lost for a long time. It first reappeared in Henan, Guangdong and Heilongjiang provinces. In 1980s, folk artist Liu Limin revived the art form after many failed attempts.
Liu lives in Henan Province, a place teeming with wheat, which provides good resources for the straw patchwork. The village where she lives has a tradition of producing various crafts made of wheat straw for more than 250 years. Here, Liu began to weave up her own dream of reviving the ancient art of straw patchwork. For more than five years, she has endeavored to make all kinds of experiments. With her imagination and artistic knowledge, she finally summed up a set of manufacture procedures, reviving the long-lost art form.
To make the patchwork, the wheat straw first has to be soaked in a special kind of chemicals for 30 minutes, which will make the straw antiseptic, mothproof and more flexible. Then the useless parts are cut off and the straw is split from the middle. The straws are flat when they are dry, but they are still raw materials and can't be used directly. The inside of the straws needs to be scraped thinner, leaving only the shining "skin" of straws. The straws also need to be colored. The method for coloring is not dye but carbonization, which is depigmentation-preventable.
In order to keep the shape of the straw patchwork for a longer time, Liu has developed a special kind of glue and chemicals used to intenerate the straw after years of research and hard work, which has been patented. The glue and chemicals are epurated from the herbals in the mountain, which makes the straw patchwork totally "natural" and environment-friendly.
The artists of straw patchwork make full use of the natural color and texture of wheat straws. In the deft hands of the artists, the common straws become alluring artworks. The huge straw patchwork made by Liu, Lady of Guo Country Goes Sightseeing in Spring, has been collected by the Great Hall of the People. Five cows, has won the Golden Award of Folk Art at the Second China International Folk Art Exposition.
