Source: China Sculpture Platform www.dspt.com.cn/
Link: http://www.dspt.com.cn/gwx/wen2.htm
I. Qin figurines. They were basically createdwith moulds. After different types of heads, torsos, legs, hands and other parts were produced, they were combined according to the styling required by the individual characters. The next step was to carve out the specific image with certain demeanours and expressions. Clothing was modified based on the various ranks and statuses. Figures of different ethnic groups had different shapes of the head as well as overall images. But on the whole, all figures were unified in one army. The Qin horses were also made by assembling and refining the parts produced with moulds.
This was a mass production with collective assembly operations, which resembles workshop production. Because Qin Dynasty did not last long, a huge number of figures must be rapidly produced for the tombs. Unlike in older times when burial objects could be prepared over a long period of time, the scale of the burial objects in the royal tombs of Qin is magnificent, surpassing that of any other dynasties. The rapid mass production would not be possible without clay which was easy to access and process and whose firing did not take long. There are no more clay figurines of this scale after Qin Dynasty.
II. Han figurines. Although produced with moulds, they came in various styles, which was different from Qin figurines. The heads were mostly created with moulds. Most torsos were cylindrical in long dresses. The torsos of male figurines were mostly produced using moulds, same as the horses, armours, and some animal figurines. The parts were joined together and retouched for lively postures. Facial expressions were improvised. Pigs and other animals, as well as buildings, boats, etc., were also improvised freely after assembling the parts.
The sculptor’s emotions were reflected the most in Han figurines. Burial objects should satisfy all the needs in the tomb owner’s afterlife so that he or she could continue to live comfortably. As per this requirement, artisans (sculptors) could do whatever they wished to create lively works that represented life. Creating with moulds was only part of the quick production process to reduce the unnecessary repetition. This is the difference in style from the making of Qin figurines.
III. Tang figurines. Different ways of production applied to the figurines of ladies, generals, and animals including horses and beasts. The technique of press moulds was still used for animals. In Luoyang and other areas, press moulds remain in use for Tang books and Tang figurines, and there are old moulds and new ones in farmers’ homes. When I worked at the Henan Museum, I once saw a group of pottery figurines unearthed in Luoyang. The style was the same as that of the rock sculptures dating back to Sui Dynasty in Longmen Grottoes, only that the scale was smaller. What was also fascinating was that the heads of the Tang figurines were movable. They were meticulously made and extremely precious. Moulds also existed.
IV. Folk Sugar Blowing figurines. There are two-part moulds for the creator to blow the molten syrup into for the shaping of the figurine. After removing the figurine from the mould, colors were used to complete it. Little mouse figurines could also be made for fun. With a moulding toy I played in my childhood, clay was pressed into the mould, and talc was used for demoulding.
V. Chinese Shadow puppets. Draw shapes such as the head, body, and hands on the leather, carve them out and assemble. For replication, re-use the carved-out leather for the general shapes and carve different details to re-style. The style of shadow puppets varies from region to region. They can be mass-produced. Paper cut-outs can also be mass-produced in the same way, by carving a certain pattern on a fixed stack of paper.
VI. Folk clay toys. Clay opera masks, clay opera figures and so on are also created with moulds. They are embossed only on the front side, and the back side is flat. Created with moulds as well, the rabbit masters and clay dolls popular in folk culture are hollow.
Modern blowing plastic toys are created with more complex moulds. It can be concluded that the formation of a style is determined by the complexity of mould operation. In primitive times, the technical level of craftsmanship was low, so rough moulds without many irregular details that guaranteed quick demoulding and a strong sense of unity were used. While it enabled mass production, a style took shape. For rock sculpture, although the hollowing should reach the surface as much as possible but excessive hollowing must be avoided. As rock is a hard material, shaping is restricted. Also, the ply of the rock should be taken into account in order to prevent bits from falling off. More hollowing means more damage, so the initial styles of rock sculpture present the strongest sense of unity and completion, which actually reflects the technological level of the tools and moulds that were used in the production process.
It can also be said that in modern times, technology and materials are advancing by leaps and bounds. The moulding can be determined by materials. Moulds have seen improvement in various ways. For example, with the soft silicone rubber, moulding is not limited by all the strange angles and forms. Sculptors can make moulds of any shape. Therefore, style is no longer restrained by the tools, and there shall be no more fixed formats specific to the times. Conversely, the appearance of a style or format is determined by the technical conditions of the time, rather than wishful designs. If the younger generations do not consider the conditions for production, but seek to imitate their predecessors, they will not achieve any style but end up with blank, formalistic results. They will reach neither the style of the era nor the style of the individual. The generation of style depends on the method of production.
(Selected from The Archive of Papers on Creation Authored by Teachers in the Sculpture Department of the Central Academy of Fine Arts)
Link: http://www.dspt.com.cn/gwx/wen2.htm
I. Qin figurines. They were basically createdwith moulds. After different types of heads, torsos, legs, hands and other parts were produced, they were combined according to the styling required by the individual characters. The next step was to carve out the specific image with certain demeanours and expressions. Clothing was modified based on the various ranks and statuses. Figures of different ethnic groups had different shapes of the head as well as overall images. But on the whole, all figures were unified in one army. The Qin horses were also made by assembling and refining the parts produced with moulds.
This was a mass production with collective assembly operations, which resembles workshop production. Because Qin Dynasty did not last long, a huge number of figures must be rapidly produced for the tombs. Unlike in older times when burial objects could be prepared over a long period of time, the scale of the burial objects in the royal tombs of Qin is magnificent, surpassing that of any other dynasties. The rapid mass production would not be possible without clay which was easy to access and process and whose firing did not take long. There are no more clay figurines of this scale after Qin Dynasty.
II. Han figurines. Although produced with moulds, they came in various styles, which was different from Qin figurines. The heads were mostly created with moulds. Most torsos were cylindrical in long dresses. The torsos of male figurines were mostly produced using moulds, same as the horses, armours, and some animal figurines. The parts were joined together and retouched for lively postures. Facial expressions were improvised. Pigs and other animals, as well as buildings, boats, etc., were also improvised freely after assembling the parts.
The sculptor’s emotions were reflected the most in Han figurines. Burial objects should satisfy all the needs in the tomb owner’s afterlife so that he or she could continue to live comfortably. As per this requirement, artisans (sculptors) could do whatever they wished to create lively works that represented life. Creating with moulds was only part of the quick production process to reduce the unnecessary repetition. This is the difference in style from the making of Qin figurines.
III. Tang figurines. Different ways of production applied to the figurines of ladies, generals, and animals including horses and beasts. The technique of press moulds was still used for animals. In Luoyang and other areas, press moulds remain in use for Tang books and Tang figurines, and there are old moulds and new ones in farmers’ homes. When I worked at the Henan Museum, I once saw a group of pottery figurines unearthed in Luoyang. The style was the same as that of the rock sculptures dating back to Sui Dynasty in Longmen Grottoes, only that the scale was smaller. What was also fascinating was that the heads of the Tang figurines were movable. They were meticulously made and extremely precious. Moulds also existed.
IV. Folk Sugar Blowing figurines. There are two-part moulds for the creator to blow the molten syrup into for the shaping of the figurine. After removing the figurine from the mould, colors were used to complete it. Little mouse figurines could also be made for fun. With a moulding toy I played in my childhood, clay was pressed into the mould, and talc was used for demoulding.
V. Chinese Shadow puppets. Draw shapes such as the head, body, and hands on the leather, carve them out and assemble. For replication, re-use the carved-out leather for the general shapes and carve different details to re-style. The style of shadow puppets varies from region to region. They can be mass-produced. Paper cut-outs can also be mass-produced in the same way, by carving a certain pattern on a fixed stack of paper.
VI. Folk clay toys. Clay opera masks, clay opera figures and so on are also created with moulds. They are embossed only on the front side, and the back side is flat. Created with moulds as well, the rabbit masters and clay dolls popular in folk culture are hollow.
Modern blowing plastic toys are created with more complex moulds. It can be concluded that the formation of a style is determined by the complexity of mould operation. In primitive times, the technical level of craftsmanship was low, so rough moulds without many irregular details that guaranteed quick demoulding and a strong sense of unity were used. While it enabled mass production, a style took shape. For rock sculpture, although the hollowing should reach the surface as much as possible but excessive hollowing must be avoided. As rock is a hard material, shaping is restricted. Also, the ply of the rock should be taken into account in order to prevent bits from falling off. More hollowing means more damage, so the initial styles of rock sculpture present the strongest sense of unity and completion, which actually reflects the technological level of the tools and moulds that were used in the production process.
It can also be said that in modern times, technology and materials are advancing by leaps and bounds. The moulding can be determined by materials. Moulds have seen improvement in various ways. For example, with the soft silicone rubber, moulding is not limited by all the strange angles and forms. Sculptors can make moulds of any shape. Therefore, style is no longer restrained by the tools, and there shall be no more fixed formats specific to the times. Conversely, the appearance of a style or format is determined by the technical conditions of the time, rather than wishful designs. If the younger generations do not consider the conditions for production, but seek to imitate their predecessors, they will not achieve any style but end up with blank, formalistic results. They will reach neither the style of the era nor the style of the individual. The generation of style depends on the method of production.
(Selected from The Archive of Papers on Creation Authored by Teachers in the Sculpture Department of the Central Academy of Fine Arts)