According to the research of the national cultural relics department, the cultural relic was made in the late Warring States period, about 340 BC to 270 BC, 2300 years ago. Its shape is a four-legged monster with tiger head, dragon body and rabbit tail, full of dynamic charm and simple and elegant color. By the Sui and Tang Dynasties, the development of root art had tended to be prosperous. It is recorded in the Book of the Southern Qi Dynasty that Emperor Gaozu of Qi gave "Ruyi" to Shao Zhugen, a hermit, and at the same time some practical products, furnishings and furniture based on roots appeared. Han Yu, a poet in the Tang Dynasty, also described a root carving "character" in his poem "Timur Jushi". During the Song and Yuan Dynasties, root carving works developed in court and folk, and some painters also used root carving works as creative materials. Many arrangements painted on Bai Le's guqin are root carvings. In the Ming Dynasty, root carving works had more unique artistic characteristics. A large number of root carving artists emerged in Qing dynasty, which made the creation of root carving develop to a new stage. They inherited the tradition of woodcarving art and created many excellent root works. Up to now, they still have many Qing Dynasty root carving treasures in the Forbidden City, Summer Palace and Shanghai Yuyuan Garden. Yu Linglong, Kirin, Phoenix and other Qing Dynasty root carving works have been exhibited in Shanghai Yuyuan Garden. These works are "three points artificial and seven points natural", which shows the charm of root art works in a glance. Since the Third Plenary Session of the Eleventh Central Committee, root art has also reached a period of vigorous development. And more than 40 root art groups have been developed throughout the country. In Fujian, Zhejiang, Anhui, Jiangsu and other provinces, the number of root carving art manufacturers is increasing, the production of root carving art has formed a certain scale, and the level of root carving art creation has reached a new peak.