Today, the two-month “Muxiu Jiangnan Ming and Qing Jiangnan Architectural Wood Carvings Exhibition†was held at the Ningbo Museum. It focused on the Ming and Qing architectural woodcarvings collected by the famous Ningbo collector He Xiaodao for 20 years.
On entering the pavilion, a Shuanglong pattern window of the Ming Dynasty came into view. He Xiaodao told reporters: “This is a pattern of dragons and phoenixes, Ssangyong and Shoulong. It can be seen in gold, red, and green. It fades into a wooden color. However, it retains its ancient style.The dragon is a totem dedicated to the ancient emperors. To avoid the embarrassment, although the pattern in the window is up, but the tail is curled up, the 'tail dragon' is formed. This is a typical Ming style wood carving. According to reports, The exhibition has three major features. The first is "thickness", historical relics, traces of years left over for centuries; second, "odd", geographical features, inexhaustible charm of the south of the Yangtze River; third, look at the "beauty", uncanny workmanship, unimaginable skills.
Talking about the experience of this exhibition, as the head of the Ninghai Shili Red Makeup Folk Museum, He Xiaodao bluntly claimed that he was "a helpless move" for cultural relic protection. He believes that 80 percent of urban buildings in the 1980s still retained the traditional wooden structure. In just over 30 years, large and medium-sized cities have already lost 95 percent of their wooden structures. Today, everyone lives. In the jungle of reinforced concrete. “This change takes place in this era of our lives. Therefore, it is urgent to protect cultural relics.†He exclaimed, “There are several ways to protect cultural relics: one is in situ protection, the old one is old, and the other is ex situ conservation. For example, the former residence of Zhang Cangshui in Ningbo and some of the buildings in Tianyi Pavilion; the third is to build a collection and museum protection. This is a helpless and last resort protection measure."
He Xiaodao told the reporter: “Think about the ten million buildings that are gone. These people are in the collection of these wood carvings. These wood carvings contain rich folklore, anthropology, and sociological information. Collection is a long and arduous task. Process, and the exhibition is happy, because more people can share the beauty created by the ancients, and the collectors can share their understanding of the collection and the process and achievements of the exercise so that more people can share it. It is a sense of accomplishment. It is also a collection. The happiest thing at home."
On entering the pavilion, a Shuanglong pattern window of the Ming Dynasty came into view. He Xiaodao told reporters: “This is a pattern of dragons and phoenixes, Ssangyong and Shoulong. It can be seen in gold, red, and green. It fades into a wooden color. However, it retains its ancient style.The dragon is a totem dedicated to the ancient emperors. To avoid the embarrassment, although the pattern in the window is up, but the tail is curled up, the 'tail dragon' is formed. This is a typical Ming style wood carving. According to reports, The exhibition has three major features. The first is "thickness", historical relics, traces of years left over for centuries; second, "odd", geographical features, inexhaustible charm of the south of the Yangtze River; third, look at the "beauty", uncanny workmanship, unimaginable skills.
Talking about the experience of this exhibition, as the head of the Ninghai Shili Red Makeup Folk Museum, He Xiaodao bluntly claimed that he was "a helpless move" for cultural relic protection. He believes that 80 percent of urban buildings in the 1980s still retained the traditional wooden structure. In just over 30 years, large and medium-sized cities have already lost 95 percent of their wooden structures. Today, everyone lives. In the jungle of reinforced concrete. “This change takes place in this era of our lives. Therefore, it is urgent to protect cultural relics.†He exclaimed, “There are several ways to protect cultural relics: one is in situ protection, the old one is old, and the other is ex situ conservation. For example, the former residence of Zhang Cangshui in Ningbo and some of the buildings in Tianyi Pavilion; the third is to build a collection and museum protection. This is a helpless and last resort protection measure."
He Xiaodao told the reporter: “Think about the ten million buildings that are gone. These people are in the collection of these wood carvings. These wood carvings contain rich folklore, anthropology, and sociological information. Collection is a long and arduous task. Process, and the exhibition is happy, because more people can share the beauty created by the ancients, and the collectors can share their understanding of the collection and the process and achievements of the exercise so that more people can share it. It is a sense of accomplishment. It is also a collection. The happiest thing at home."
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