In earlier years' business logic, the work of the “mounty sculptor” and the “big scrolls” had been so aggressive and sophisticated that it had moved a mountain garden to the head of the crime scene. Today, the taste of the market has changed: more rational, more aestheticistic and life-oriented. The teacher who made the mountain sculptor, many of them turned to make their own little pieces. Some even close their studios directly and pick up custom sheets only at home. Even now there's a new movement, an old player's attention, moving away from a dozen, millions of mountain sculptors to a tiny 30-800 gramsKazamaPut it up. Maybe this thing is quietly becoming the next successor to the yangzhou hill sculptor, and today he comes to talk about the miniaturization of the mountain -- the analysis of the small sculptures。
It's a beautiful stone, but it's a tumble
As our friends familiar with the jade sculptor industry know, yangzhou workers occupy a significant position in the history of the jade sculptor in china. In particular, the yamako statue is a great sign for yangzhou. It's a lot of ink in the history of world craftsmanship. From the qing dynasty court to the contemporary auction house, the yangzhou mountain sculptor has been a heavyweight in heavy vehicles。
It's almost impossible to see the new yamako, and uncle yu has spoken to a couple of old friends in yangzhou, and they say it's plain -- there's no more material. The graphics are naturally “big” and the threshold is naturally higher. In the value system of watanabe, there is a reality that cannot be bypassed: prices are often in grams. It's big, heavy, and costs and risks follow. A lot of people see it as a step backwards: it's easier to get a piece at most, at least without the obvious flaws。
But the market is often interesting here: the higher the threshold, the easier it is to form a “frequent narrative” in years. It does not suit everyone, but it is more like a long line in the dimension of the collection. Earlier in the year, several major production areas in xinjiang were able to occasionally produce large quantities of mountains, and there was also a choice to make on the qinglewood side. But in the last decade or so, players with a little knowledge of the business have understood that the output of large amounts of high-quality jade has fallen to an overwhelming level. High-quality seeds are priced in grams, and the cost of raw material alone is an astronomical figure for any piece that can make mountain sculptures. Plus labour, time and loss, no money can be taken off。
The neglected middle zone
In fact, if we look at it in the long term and look at it from the perspective of a seasoned jade player, the dimension of the collection of tamayu's make-up is completely above a single stone. It's been a hell of a couple of years, and people in the circle of friends are tanned with gold, red and white meat, ink and flowers... The beauty of small seeds is obvious: natural forms are amenable to joy, even if they are not carved into their hands. But uncle yu would like to remind you of a problem that is often overlooked. The small seeds have a small ceiling。
It's not complicated. A small seed of good taste, no matter how beautiful the skin is and how fine the flesh is, can carry a limited amount of information. Good skin, fine meat, good shape, it's expensive, and ceilings are often locked to the material itself, lacking the second soul of artistic creation。
It's a product of artistic creation, and it's the sculptor who put his decades of experience, skill, aesthetics into this stone. The jade sculptor needs to be able to do the "photo" based on the movement of the jade, the cracks, the skin color, which is itself a game with nature. At the level of buildings, figures, mountains, boats and boats organized on a limited range of tops, the images are complex, dense and breathing. It's not a simple “better bit”, but it's a “translation” of the historical scrolls into the jade language: the knife, the line, the space, the dark, the rhythm, every bit of kung fu。
The rise password for small pieces
And what uncle yu said about “small packaging” is not a big guy in the traditional sense at least like a watermelon, but a piece of fine work that is at least a few dozen centimetres high and weighs from a few hundred grams to a kilo. The size of this set-up has several natural advantages, which neither the mountains nor the small seeds have。
In terms of material, this mass does not need to use tens of kilograms of giant material like a mountain sculptor, but it does not limit itself to a thin piece like a stamp or a brand. The modest size means that the sculptor has ample creative space to write on the dimensions of a three-dimensional body. They're fine, they're empty, they're multi-layered, they're all made of small pieces. This is the horror of small pieces: the same material, condensed to a few hundred grams, with all its advantages magnified tenfold, density, oily, leather, colorful, knifework, ambition ... Each must be extreme, otherwise there will be no way to get past the top hideer's eyes. In the traditional culture of residence, the zaïda make-up is highly functional and a decent jade make-up, capable of both house and heart support。
In the era of resource depletion, the scarcity of packaging is “dual scarcity”
The price is already overpaid. The real good deal, though preserving value, is difficult to achieve. Large pieces of good material are scarce, and naturally even fewer sets are scarce in the first layer。
The next is a lot of people studying jade sculptures, but most of them follow the “replicating” route — getting a piece of material, using a fixed template, doing it, coming out of a mere commodity, reaching the “creative” level of the jade sculptor, requiring both a work of art, cultural literacy, an instinctive judgement of the jade, and a skill accumulated over many years. This complex talent has a very long cycle of development, and it takes at least 5 to 10 years for a good jade sculptor to be able to create a work of his own type. Long production cycles result in fewer natural production. Added to the budgetary constraints of ordinary consumers, placements are traded less frequently than they are active, but in the market's “crowding”, it is easier to sink value levels。
From living room to mental care
For the market style of the jade stone — no one can agree that something must go up, either a liar or a madman. There are just some basic trends that can be judged: the chinese have a tradition of emoticons in their rooms since ancient times. This is not a simple decorative act, but a deep cultural mind。
The ancients believe that jade is a good way to avoid evil, and that the town is safe. From the palace to the library, from the esteemed house to the ordinary people's cases, one party's plaque is often the spiritual anchorage of the entire living space. It is standing there in peace and quiet, without noise, but every time your eyes are washed away, there is a sense of uncertainty in your heart。
The bulk of the material is like a mountain sculptor, which represents a more traditional context of presentation and socialization: space is large, budget is adequate, and aesthetics are able to stand up to the queen. There is, of course, still a weak market for this type of work, and the crowd is too small. And uncle yu prefers to interpret it as a “displacement of consumption structures” – especially the market for small twilight – and may well assume a more important role in the coming years – by bringing “artistic, cultural, scarce” into a more contemporary dimension。
Good craftsmen will become more precious, and the threshold for good works will be higher. Against this background, it is now possible to start with a small, fine, stymied little twat piece at relatively reasonable prices, to put it at home slowly, and to give it a much deeper radiance — perhaps the most fascinating place for collection。
