Who can explain the craft carving in Ming and Qing Dynasties in detail?

The development peak of bamboo and wood carving was in the Ming and Qing Dynasties. With the continuous innovation of carving skills and the emergence of famous artists, bamboo and wood carving art has greatly surpassed the dynasties and become a wonderful flower in the history of arts and crafts in China. Since the late Ming Dynasty, bamboo carving has formed two centers, Jinling School and Jiading School. Jinling School was founded by Pucheng (word Zhong Qian) in Wanli period. Its technological characteristics are mainly shallow knife relief techniques, and the representative figures are Pucheng He (the word is flat, and the name is Guan Zhi). Jiading School was founded by Zhu He (Song Lin) in the late Ming Dynasty. Its technological characteristics are brushwork and knife-wielding, "hollow depth" and five or six layers of deep carving and hollowing out. There are many outstanding artists in this school. Their representatives are Zhu He, his son Zhu Ying (No Komatsu) and his grandson Zhu (No.Song San), among which Wu Zhiyao is more prominent. In addition, there is another craft that was founded earlier and spread for a long time, and was carried forward in the late Ming Dynasty. After being improved by Zhang, a bamboo carving artist at the end of Ming Dynasty, the shallow relief green-keeping technique represented by Zhang was created by using the difference in texture and color between bamboo and bamboo tendons.

The carving art of furniture in Ming and Qing Dynasties is a brilliant creation of China national carving art, and the carving ornaments are brilliant, which is an inseparable part of Ming and Qing furniture and a precious heritage of Chinese national culture.

In the Ming Dynasty, the art of ivory carving also reached a peak at this time, and the carving genre formed a certain scale. Judging from the works recorded and preserved in ancient books, they are mainly concentrated in Suzhou, Guangzhou, Shanghai and Beijing today. Suzhou is the economic and cultural center of the Ming and Qing Dynasties, with profound traditional culture, so Suzhou ivory carving art has always been full of rich cultural atmosphere, and the overall style is elegant and mellow. Artists are good at using hidden techniques to display their skills on the surface of their hidden adaptation, with vivid images, distant artistic conception and proper layout, giving people a sense of tranquility. Judging from the existing works, some relatively small pieces of Four Treasures of the Study are the main carving objects. In the choice of theme, some famous paintings and calligraphy works are used as carving powder. The carving style of landscape painting is similar to the four styles of Wumen, but the carving style of flower-and-bird painting is very close to that of cloud.

Micro-carving in Qing Dynasty played an important role in the history of ivory carving, and a large number of famous micro-carving masters emerged.

Mausoleum sculptures and religious sculptures in the Ming and Qing Dynasties, especially those made under the direct control of the imperial government, are large in scale, expensive in materials, fine in production and more exquisite in stone carving technology. For example, the Ming Tombs are typical representatives. Buddhist sculptures are created by artistic imagination and are very attractive to the masses.