Appreciation of clay figurines lasted nearly five hundred years from the Song Dynasty to the Yuan Dynasty. The period also witnessed the gradual secularization of Buddhism. Advanced principles of Buddhism were skillfully combined with folk custom, and the emergence of Muhura sculptures is the embodiment of the secularization of Buddhism.
Playing toys—Big Afu
From the late Ming Dynasty, the custom of making clay figurines emerged in Wuxi and became a sideline occupation for farmers. By the mid-Qing Dynasty, the custom became increasingly specialized. Special workshops with well-known folk sculptors emerged. Huishan clay sculptures are divided into rough and fine sculptures. Sculptures with simple making techniques are rough sculptures, also known as playing goods, which became a type of toy. Fine sculptures were mostly hand-made based on traditional Chinese operas. The most famous fine sculptures are the playing toys called Big Afu.
Big Afu is a clay figurine of a baby with a small animal in his arms, symbolizing good fortune and more children and happiness. The sitting baby implies peace and harmony and gives an impression of happiness and unity. Huishan Big Afu clay figurines are usually modeled with simple structures and an easy-to-make process. The technique combines painting and sculpture. In folk clay sculpture, painting is more important.
As for the making of Huishan clay figurines, a saying goes that technique accounts for 30% and painting 70%. Commonly used colors include anthocyanin, green, heliotrope, ultramarine, bright red and light yellow, accompanied by a small amount of golden yellow. The details of clay figurines are outlined. Big Afu clay figurines from the Qing Dynasty were even more colorful with great folk decorative colors. Despite their simple structure, they give off a rich feeling.
It is said that the earliest existing Big Afu clay was made from the original model of the Qianlong Period of the Qing Dynasty. It is now housed in the Huishan Clay Figurine Institute. This piece of Big Afu sculpture, 22cm in height, 16.5cm in width, and 7.2cm thick, is a high relief molded clay figurine. Big Afu sits in right clothes with his legs crossed, a full face, two bobs, holding a cyan lion in his arms, showing a strong folk style from the south Yangtze River. The look of the Big Afu is thought-provoking. Although it is an image of a baby, it shows an adult-like inscrutable smile, with a less optimistic view of the world but indicates a simple and naive look that combines innocence and wisdom.
The image of Big Afu with a lion in his arms shows the look of a conqueror, and it is the best symbol of exorcism and blessing. This image lasts to this day and its making remains in Huishan. It shows the transformation in structures and facial features. The image is simpler and more innocent, but the symbolic meaning of blessing remains.
In 1992, the China National Tourism Administration decided to use the image of Big Afu as its mascot. In 2002, the Chinese film Golden Rooster Award and the Hundred Flowers Award took Big Afu as the mascot. Its serene and pleasant look is deeply rooted in the hearts of people. It is a symbol of a happy life.
Hand-made figures based on traditional Chinese operas and Clay Figurine Zhang
Besides playing toys, hand-made figures based on traditional Chinese operas are also the outstanding representatives of clay figurine art.
Hand-made figures based on traditional Chinese operas refer to clay figurines showing theatrical figures. The hand-made figure is set in three major roles of a drama to reflect the plot. Later, the technique gradually kept away from the limitations of drama, with more themes such as myths, legends, historical figures, as well as customs. Without using models, these hand-made figurines are made by craftsmen, which required producers to have considerable artistic accomplishment and skill.
During the late Qing Dynasty, there was a color sculpture artist called Clay Figurine Zhang, Zhang Mingshan in Tianjin. Zhang was born into a family of handforming craftsmen. He was good at making various roles from dramas and figures into reality. He was also good at forming faces and was greatly admired by people for his vivid works. Legend has it that Zhang could make vivid stage figures in his sleeves when he was watching dramas. Since Zhang boasted some literature accomplishments, his works are bookish and different from general folk clay works. His works were themed on the Three Kingdoms, the Story by the Water Margin, and A Dream of the Red Mansion. A group of works showing the Painting Xichun shows his good command of general life and elegant style. In addition, he had some custom works to show the joy of general life. Clay Figurine Zhang continues to this day, with his successor not merely limited to the Zhang’s family.
Folk culture thrived since the Song Dynasty showing great vitality even today. Folk clay sculpture still exists in China in a relatively natural form. When glory within the palace walls faded, folk wisdom and joy remain in the simple clay and bright colors. Cultural heritage also continues in this simple and direct way. Painting Xichun, Zhang Mingshan, Qing Dynasty.
