Stone Carving
01 · Historical Records
Chrysanthemum stone is a precious natural stone material, formed in the early Permian period about 270 million years ago. By the end of the Qing dynasty, chrysanthemum stone carving already included products such as flower screens, mirror screens, large vases, rockeries, tabletops, and chair seats. Some works were exhibited at the 1910 Nanyang Industrial Exposition and the 1915 Panama-Pacific International Exposition, and all won medals.
02 · Core Techniques & Process
Chrysanthemum stone carving is a carving art based on chrysanthemum stone produced in Yonghe Town, Liuyang, Hunan Province. Its color is gray or gray-black, with naturally formed white chrysanthemum-shaped patterns appearing on the surface; the patterns are pure white and crystal-clear, of natural wonder. According to geologists' investigation, Liuyang chrysanthemum stone is a calcium carbonate aggregate with a flint structure at its core. Its calyx part is hard siliceous flint, while the petal part is a radial crystalline aggregate formed by calcium carbonate filling along cracks in the limestone. The calyxes are of several kinds — single-core, double-core, triple-core, and coreless — and resemble flower forms such as bamboo-leaf chrysanthemum, hydrangea nightshade chrysanthemum, cattail-leaf chrysanthemum, and money chrysanthemum. Carving artisans make use of these characteristics of chrysanthemum stone, carving with fine workmanship, arranging the petals, adding branches and leaves, and forming different chrysanthemum shapes in relief. Chrysanthemum stone carving has a long history; in the Qing dynasty it had already become a tribute item to the imperial court. During the Qianlong reign, chrysanthemum stone carvings were mostly small scholar's-desk objects such as inkstones; the imperial household held many chrysanthemum stone inkstones, the largest nearly one and a half chi and the smallest about seven or eight cun. The chrysanthemum stone carving technique employs such handling methods as flat carving, relief carving, round carving, line engraving, openwork carving, three-dimensional carving, and combined carving; because the shapes are designed according to the material, every chrysanthemum stone craftwork is a unique treasure. In recent years, chrysanthemum stone raw material has become increasingly scarce, and the traditional chrysanthemum stone carving craft faces endangerment.
The Permian origin of chrysanthemum stone
Liuyang chrysanthemum stone is a calcium-carbonate aggregate with a flint core, the petals being radiating crystals that filled fissures in the limestone.
Single, double, triple and coreless flowers
The flower heads come in single-, double-, triple- and coreless forms resembling bamboo-leaf, hydrangea, cattail-leaf and coin chrysanthemums.
Chrysanthemum-stone inkstones of the Qianlong reign
Qianlong-period work was mostly small scholar's objects; the imperial household kept several inkstones from about half a foot to nearly a foot and a half across.
Flat, relief, round and combined carving
The craft employs flat, relief, round, line, openwork, three-dimensional and combined cutting; because each piece follows the stone, no two works are alike.
03 · Regional Records & Related Items
Chrysanthemum stone carving takes Yonghe Town in Liuyang City as the source of its stone material and the center of the craft; in Liuyang itself, family workshops and industry associations are the main organizational forms. The Hunan Provincial Research Institute of Arts and Crafts in Changsha undertakes the functions of fine-art creation, technical research, and talent cultivation; researchers and artisans alike rely on the mining district of Yonghe Town for selecting their material.
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04 · Cultural Value & Contemporary Safeguarding
Chrysanthemum stone was formed in the early Permian period about 270 million years ago and is a non-renewable rare stone material; in recent years the raw material has become increasingly scarce, and the traditional craft faces endangerment. In the Qing dynasty, chrysanthemum stone carving had already become a tribute item to the imperial court, and works were exhibited and won awards at both the 1910 Nanyang Industrial Exposition and the 1915 Panama-Pacific International Exposition, showing that its artistic level was recognized by the outside world early on. Current protection priorities lie in stabilizing the source of stone material, preserving techniques such as flat carving, relief carving, round carving, line engraving, openwork carving, three-dimensional carving, and combined carving, and continuing the creative approach of "shaping according to the material, one design per piece" through training by the research institute and industry associations.
05 · Associated Representative Bearers
Representative bearers recorded under this item, organized by national nomination batch:
- Qian Gaochao 03-1272
- Gongbaocaidan 03-1273
- Wang Guoqing 05-2657
- Cao Mingzhu 05-2658
- Tang Jun 05-2659
- Shi Yongen 05-2660
- Yang Jianming 05-2661
- Bao Wuwen 05-2662
- Yuan Jiaqi
- Liu Nengfeng
- Wang Shilin
- Ye Meisan
- Yin Guoan
- Hu Yang
- Liangbinggong
- Caidanjia
- Chen Jiwu
06 · Authoritative Sources & Bibliography
Sources
China Intangible Cultural Heritage Network (ihchina.cn)
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