Due to the "warm and lustrous, easy to play knife" characteristics of Shoushan Stone , it has long been used as a material for engraving. In 1965, Fuzhou archaeological workers unearthed two Shoushan stone pigs in a Nanchao tomb in Wufeng Mountain in the northern suburbs of the city. This shows that Shoushan Stone has been used as an engraving material at least in the Southern Dynasty more than 1,500 years ago. In the Yuan Dynasty, the engraved family used the leaf wax stone as the printing material, which made Shoushan Stone the crown of the "Indian Stone Sanbao" and made it to the elegant and elegant hall. In addition, the Ming and Qing emperors will favor each other, thus forming a unique history of folk craftsmanship from the germination to the development of the Shoushan stone carving art. The Shoushan stone carving has become a favorite among the emperors and the Limin people. Cultural and artistic treasures. Today, as the art of Shoushan stone carving itself, it can be said that it has developed into a unique art in terms of quantity and quality. However, from a historical point of view, it sees the lack of written historical materials contained in the classics. Needless to say, the Shoushan stone culture developed under severe "ischemic" conditions. This is a cultural dislocation. The status of Shoushan stone carvings is very special: it was used as a raw material for carving rough utensils at the beginning. The monks on Shoushan took the materials from time to time, and used Shoushan stone carving incense burners, rosary beads, Buddha statues, etc., and were widely used as funeral sarcophagi. Most of these earliest carvings were of poor stone quality and rough carvings. It is difficult to see the Shoushan stone round sculptures that have been well-made before the Ming Dynasty. Even the poor texture and the simple carvings of the carvings are hard to see. Obviously, Shoushan stone carving was only used as a cheap and vulgar everyday product. The lack of physical objects that can be used as evidence can undoubtedly increase the difficulty of the research on the cultural history of Shoushan Stone. The Yuan and Ming Dynasties, the "identity" of Shoushan Stone began to "polarization", this "differentiation" was the most fully performed in the Qing Dynasty: or expensive for the pets around the Son of Heaven, or the rough things of the folk. Since the Song and Yuan dynasties, there have been occasions when the "lucky children" with more precise materials have been favored, and they have been carefully crafted and placed on the case of Wenhao's privilege. They are worth a hundred times. In addition, most of the stone carvings still cannot escape the status of "barren". You can freely examine such things as "tea culture", "ghost culture", "caizi culture", etc., which have thousands of years of history, and the dictionary is very popular. In contrast, there is a cultural coordinate in the art of Shoushan Stone. A special "blind zone": a serious "ischemia" of "written culture." Known as the first monograph of Shoushan Stone Culture, it appeared in the Qing Dynasty, Gao Zhao's "Viewing Stone Record", the full text of 2,700 words. In the book, a simple classification of "Shankeng" and "Shuikeng" was carried out on Shoushan Stone. More than 140 Shoushan Stones were described and evaluated. They were divided into three parts: Shen Zi, Miao and Yi, and the famous stone carving celebrities Pan Zihe, Xie Tao and Yang Yuxi. The artistic skills of others, summed up their experience in carving Shoushan Stone "phase stone", "stone" and polishing. In fact, "Viewing Stone Record" is just a thin "souvenir play" of Shoushan Stone, which is difficult to call "theory." Later, Mao Qiling was entitled "After the Stone Record", and the full text was only more than 3,600 words, and the record of 49 pieces of Shoushan Stone was "played". The more historical significance of the article is that the three pits of "mountain, water and field" were first proposed for the classification of Shoushan Stone, which is still widely accepted. The "front and back view of the stone record" was praised as "double shackles" by later generations. During the Qianlong period, the Tibetan stone master Zheng Jie wrote the "Shoushan Stone Spectrum", a high-named, "named by the phase, with the color of the number" method, proposed the idea of ​​the name of the stone name, was widely adopted by later generations. The so-called culture, in a narrow sense, is the literati's involvement in the culture of things. The appearance of "the front and the back of the stone record" marks the true intervention of the literati on the art of Shoushan Stone, but the "two records" are only a cultural essay with appreciation characteristics. The Shoushan Stone is truly complete, comprehensive and theoretical. The monograph should be the "Shoushan Stone Spectrum" of Gong Lun's evaluation of the famous products, origins, requisitions and carving and processing systems of Shoushan Stone. The full text is more than 10,000 words. Then, Zhang Zongguo's "Shoushan Stone Test", Chen Zifen's "Shoushan Shiyin Shi Xiaozhi", Pan Zhulan's "Shoushan Stone Carving History", Fang Zongwang's "Shoushan Shizhi" and "Shoushan Stone Whole Book", Chen Shi's "Shoushan Stone Carving Art" Shi Baolin's "Printing Button Art", Chen Shi and Wang Zhilun's "Shoushan Stone Culture" and so on. This is about the "masterpiece" of the "monograph" of the Shoushan stone carving art in the history of thousands of years. In addition, there are a few literary works such as poems and prose of the famous celebrities. Compared with the vast traditional Chinese culture, the number is very small. The "culture" of the Shoushan Stone of the stone farmers is the "legend" of several "universal" in the world, such as the virgins, the phoenix laying eggs, and the like, which can be used in the north of the iron horse glaciers, and in the south of the apricot flower spring rain, as long as Change the location of the story. The "theoretical culture" of artists is usually "experience talk" such as "one to nine work", often just "oral culture", and it is necessary to help the idle inks to organize the written articles before they can be passed on. The literati who truly occupy the literary world often "respect the ink as gold" and disdain for the "waste of the lower Riba". Since the 19th century, the Chinese nation has been immersed in the serious intrusion of the bonfire war, and the industries are abolished and the people are not living. The Shoushan stone carving industry is also difficult to escape. After the liberation, the stars moved to the sea, the seas and the seas were squandered, and the identity of the Shoushan stone carving artists changed substantially. They changed from the humble bottom of the society to the respected folk artists. The Shoushan stone carving artists spontaneously organized the engraving group. Soon, the two major sects of the East and the West abandoned the sectarian views, jointly established a cooperative, and developed into a craft stone carving factory with hundreds of people, ending the long-standing Shoushan stone carving community. The "single-handedness" situation of the war. New and old artists create and study together, complement each other's strengths, and greatly broaden the path of creation and the realm of thought. The sects of the sects, together with the techniques of thinness, engraving, openwork, and chain carving, draw on the strengths of other art on the basis of tradition, expand the field of subject matter, and advance their skills and literacy to form a skill. Knowledge loopback. The government selected artists to go to art colleges for further study, and artists accepted art in the Academy of Fine Arts, and the artistic realm was improved. For decades, the "basic skills" that have been painstakingly practiced every day, and many fragmentary "experiences" and the potential artistic views gained from long-term practice have been highly covered by theory, which has made breakthrough progress in Shoushan stone carving art. Shoushan Stone's "practical culture" has entered a new realm. In practice, there has been considerable progress. However, the "barren" situation of "text culture" and "ischemia" is still difficult to change at a time. Culture is a "warm-up" that takes a long time. 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August 13, 2020