Jiading Bamboo Carving

The Jiading bamboo carving technique, widely practiced in the Jiading area of Shanghai, originated in the bamboo-rich region located in the northwest of the city, near the Liuhe River. This intricate art form was developed by Zhu He during the Zhengde and Jiajing reigns of the Ming Dynasty (1506-1566) and has since been primarily passed down through generations in Jiading County (now Jiading District).

Zhu He integrated calligraphy and painting into bamboo carving, pioneering the "deep carving technique," which features intricate openwork and deep engraving, elevating bamboo carving to an independent art form. His son, Zhu Ying, and grandson, Zhu Zhizheng, both inherited and innovated upon his techniques. Zhu Ying's knife skills surpassed those of his father, while Zhu Zhizheng advanced even further, creating works characterized by magical precision, simplicity, and elegance. The three generations, known as the "Three Zhus," established the foundational character of Jiading bamboo carving.

Following the "Three Zhus," artists like Li Liufang and Lou Jian, known as the "Four Masters of Jiading," continued to develop Zhu He's "deep carving method," integrating it with their calligraphy and painting. During the reign of Emperor Kangxi in the Qing Dynasty, Wu Zhi introduced the "thin ground positive text" carving method, renowned for its beauty, vigor, and intricate layers, earning the title of "supernatural work" at the time. The Feng brothers—Xilu, Xijue, and Xizhang—excelled in round carving and figure sculpture, creating lifelike works that ushered Jiading bamboo carving into its golden age.

During Emperor Qianlong's reign, multiple schools of bamboo carving flourished in Jiading, with Zhou Hao emerging as a leading figure. Zhou Hao, revered as a master of Jiading bamboo carving, was celebrated for his ability to use the knife like a pen, producing vivid and complete works that were regarded as "the best." Zhou Hao, along with Zhou Li and Shi Tianzhang, were collectively known as the "Three Artists of Jiading." By the early Qing Dynasty, Jiading bamboo carvings were offered as tributes to the imperial court, and Emperors Kangxi and Yongzheng not only collected these works but also invited prominent artists such as Feng Xilu, Feng Xizhang, and Shi Tianzhang to the court. Emperor Qianlong even inscribed his own poems on bamboo pen holders, which were then carved by Jiading bamboo artists.

In the late Qing Dynasty, Jiading became a hub for bamboo carving, with numerous workshops and shops like Shi Dajing's "Wenxiu Zhai," Han Yu's "Yunxia Room," and Ye Duanfu's "Cuiqing Zhai" gaining influence. However, the industry began to stagnate and gradually declined. After 1949, professional guilds and research institutions were established to support Jiading bamboo carving. Despite this, the craft has traditionally been passed down through families and master-apprentice relationships, with various schools such as the Zhu family's relief carving, the Feng family's round carving, Wu's thin ground positive text carving, and Zhou's Southern School painting carving still having successors today. Notable contemporary inheritors include Fan Xunyuan, Zhang Yingyao, Fan Qichang, Ding Liliang, Wang Wei, Wang Leping, Zhang Weizhong, Jiang Yuming, Su Yurong, Zhuang Long, and Zhou Keng.

Jiading bamboo carving artists use knives as if they were pens, integrating arts such as calligraphy, painting, poetry, prose, and seal carving, imbuing bamboo with new life. Their works exude literary elegance and the spirit of stone and metal, making them cherished objects among scholars and literati throughout the dynasties. The forms of Jiading bamboo carvings often cater to the tastes of literati, with items like pen holders, incense burners, armrests, screens, and bamboo root carvings of figures, landscapes, plants, and animals. The techniques employed are diverse, including shallow carving, deep carving, thin ground positive text, shallow relief, deep relief, openwork, and round carving. Jiading bamboo carving is distinguished by its regional style and originality, with aesthetic value far surpassing its practical use.

However, Jiading bamboo carving faces significant challenges today. The craft is labor-intensive, time-consuming, and economically unrewarding, leading many artists to leave the profession. There is also a lack of interaction between calligraphers, painters, and bamboo carving artists, resulting in a gradual loss of the cultural depth that once defined Jiading bamboo carving. Furthermore, urbanization has led to the disappearance of large bamboo forests, making raw materials scarce. These factors have contributed to the decline of Jiading bamboo carving, and urgent measures are needed to preserve and revitalize this unique art form.