Fang Xinzhong: Inheritor of Huizhou Brick Carving

HUANGSHAN City， in South- ern Anhui Province， was the seat of ancient Huizhou， a major cultural and economic hub in history. In the ancient villages scattering this hilly area， time seems to have stood still. Walking down the narrow streets， the Huizhoustyle residences on both sides take travelers back hundreds of years. People usually stop to examine the fabulous carvings on the arches. Brick carving is one of main characteristics of Huizhou-style constructions and an integral part of Huizhou architecture.

Using the local gray brick， the carvings were widely used in arches， door- frames， lintels， eaves， roofs， and pillar bases to make the construction more elegant and dignified.

When I met Fang Xinzhong， he was helping his students. Dressed in blue work clothes， he dusted himself off， invited me into his office and told his story from the start.

Unexpected Turn of Events

Fang was born in October 1949， when the People’s Republic of China was established， so he was named “Xinzhong，”which means New China. His grandfather Fang Yuyan was a famous educator and had been a member of the Third and Fourth National Committee of the Chinese People’s Political Consultative Conference （CPPCC）.

Had the cultural revolution never happened， Fang’s life might have taken a different path： study in Shanghai， work， marriage， family. But “what if？” is never easy to answer， and sometimes the how and why of history can only be put down to “destiny.”

After finishing the first year of middle school， Fang moved to Shexian of Anhui Province with his mother. Fang recalled some fragments of his childhood： his grandfather’s influence， his parents’ jobs as teachers in Shanghai， and their house， just next to that of Madame Soong Ching Ling. Coming from a big city， Fang couldn’t get used to the countryside， and was resigned to the fact. Fortunately， he had his love of painting to brighten his mood. After a day’s farming， Fang would draw pictures on the walls of his own house and even those of neighbors， or make color clay sculptures. “At that time I was always looking for a way out，”Fang said. “Later， I realized that my path had been there all along， right under my nose.”

One day， he came across some exquisite carvings on a house and was immediately drawn to them. Fang tried to carve something on bamboo， the cheapest material he could find.

There were many local carving masters， but Fang had no time or the funds to study. If he had spare time， he would search for well-kept engravings， examining the ancient carvings and replicating them at home. Art is a talent， and in the face of adversity， it is said talent will burst into extraordinary creativity. With persistent efforts， Fang mastered all kinds of carving techniques.

Specialist in Brick Carving

The year 1985 saw another turn of events for Fang. That year， the Huizhou Classical Landscape Architecture Company was recruiting carvers. Fang， though at 36 years old had exceeded the maximum recruiting age， went for an interview and took a portfolio of his wood and bamboo carvings. He was admitted for his superior skills.

The newly-established company had gathered a group of apprentices， most of whom were carpenters， stonemasons and bricklayers. With no practical expe-rience， Fang had to study brick carving， a relatively unpopular profession. “There was no brick carver in the company，” he recalled， “I didn’t really know what brick carving was.”

Brick carving was mostly used to embellish ancient constructions but with the rise of modern architecture it gradually disappeared. Some old craftsmen had mastered the traditional skills， and Fang’s task was to seek them out and learn from them.

While working at the company， Fang built a relationship with many carvers and learned a lot from them. “I have no master； everyone is my teacher，” he said.“I learned from anyone who knew more than me， so everyone liked to talk with me， and they all helped my career a great deal.”

Not long after he had started working in the company， Fang was given a fantastic opportunity. The company was commissioned to restore the brick arch of the Jingjue Temple in Nanjing. Fang says this arch officially started his career. “At the beginning， it was so difficult – I didn’t even know what tools to use， or how to use them. I had to experiment.” Fang asked for help from senior craftsmen and also researched the patterns of old houses and studied the style of brick carving used in the original structure. The restoration project was a huge success， and Fang found great pleasure in it. “Now， I immerse myself in the maintenance of old constructions， and I love the profession even more，” he said. “The classical works made hundreds of years ago are still incredibly impressive.”

Soon Fang surpassed himself. He may not have been the most talented worker in the company， but he was the most diligent one.

Bold Innovation

Other achievements in Fang’s career include a piece entitled The Hometown of Hui Businessmen. Fang led a team of 30 to create the 18-meter-long work， spending half a year on the design， and another half a year on the carving.

When used for decoration in an arch， a Huizhou-style brick carving is usually an ensemble of several parts done on 40-centimeter square bricks. In 1988， a client commissioned a four-squaremeter Huangshan Mountain Scene as a garden decoration. For visual effect， the customer suggested using bigger bricks. So for the first time Fang selected gray bricks of 70 cm by 40 cm.

For arch decoration， Fang introduced traditional brick carving focusing on the face and both sides， so openwork （ornamental work with regular patterns of openings and holes） and engraving are the techniques most used. But for garden decoration， the perspective has to be considered， and the proportion of the patterns and techniques used have to be changed accordingly. How to achieve the best perspective effect was the core problem of the garden project. “Six of us worked for over half a year on this work，” said Fang. “Since that job， I have had more confidence to produce largescale carvings.”

Fang has also been innovative in the themes of his works by moving away from the conventional patterns of birds， flowers and historical scenes of a traditionally patriarchal society towards new themes involving women. For example， Fang decided to set in stone the stories of two heroines， Hua Mulan and Mu Guiying. “Artistic works should reflect the age in which we live， and so， the thoughts behind works should develop with time. We should leave to our children a record of our time，” said Fang.“We should uphold tradition， but keep innovative.”

His achievements have been greatly honored： In 2002 the Chinese Society of Landscape Architecture awarded Fang a Master of Landscape Architecture； in 2005， the Ninth Huangshan International Tourism Festival and Hui Culture Festival awarded Fang Master of Huizhou Folk Craftsman； and in 2007， Fang was listed as one of the first group of Chinese Inheritors of Intangible Cultural Heritage.

Heritage

With the advent of modern architecture methods， the ancient Huizhou brick carving skills were in danger of becoming obsolete； but with the development of people’s livelihood and the economy they have been revived. More and more people are aware of the value of traditional construction. As one of the most popular tourist destinations in China， Huangshan City wants to showcase its history through Huizhou-style buildings and the related arts like brick carving. Fang was delighted to see the new trend. “The art of brick carving should be part of a living society， otherwise it will disappear. Today， art should not stagnate in its original position. It should aim high at the international market， and then develop further.”

Fang set up the Fang’s Brick Carving Studio in 2003 and the Xinzhong Artistic Brick Carving Factory in 2007 to provide optimum conditions for his apprentices， allowing them to focus on practice and experiment with bold innovations in tools and techniques.

Fang also cooperates with Xingzhi Middle School. Every day， he gets up at three a.m. to work. At seven， he rides his electric bicycle to the school， an hour’s drive from his house in Wangchong Village. He especially hopes his son Fang Mengle will carry on his work. But Mengle， a seaman， has his own dreams. However， he admitted that the ancient skill of brick carving has a stronger and stronger attraction. He used to take up his father’s tools and after three years’practice could do quite a good job. He said maybe someday he would give up the sea and come back home to follow in his father’s footsteps.

“Passing on the art of Huizhoustyle brick carving is my responsibility and goal，” Fang said， calmly but with conviction.