Appreciating the relief in jade carving

Bo Yi is gradually evolved from the relief technique. It is even "shallower" than bas-relief. Because the carving layer is thin and full of artistic conception, it is called "Bo Yi". It was originally a unique expression technique of Shoushan stone carving. Because the carving is thin and shallow like a painting, it is also called "knife painting". It has only been widely used in collection-level jade pendants in recent years. Because of the fluent knife technique, detailed depiction and vivid shadows, it is highly appreciated and praised by epigraphers and seal carvers.

Thin-carving works are known for their "emphasis on elegance, fine craftsmanship, and closeness to the principles of painting". They integrate calligraphy, seal cutting, and painting into one, and are a unique art form between painting and sculpture. Because of this, excellent thin-carving works often have an extraordinary artistic charm and are particularly valuable for appreciation.

There are several characteristics of thin carving. First, the material selection should be strict: choose more high-quality jade raw materials, such as high ice type, ice type with floating flowers, glutinous ice type, ice yellow jade, etc., and those with skin are especially good; second, the technique should be advanced: jade thin carvings are mostly made by jade carving masters; third, the stone should be carefully selected: high ice type, ice type with floating flowers, glutinous ice type, ice yellow jade and other precious and rare jade materials are of extremely high value. Before carving, you must carefully study the jade material's texture, the direction of cracks, the use of the surface, etc., so there is a saying that "the carver dare not carve with his eyes, and he must judge the curve and surface for every detail"; fourth, the stone cleaning should be detailed: according to the design in the mind, make screening and retention, and perfect the carving. Fifth, the painting must be beautiful: that is, use a pen to draw on the stone, and the picture must be exquisite. Sixth, the outline should be light: use a sharp knife instead of a pen, and lightly outline the lines on the brush line to position them. The seventh is to proofread and polish the manuscript to perfection: when proofreading the results, use water if there is skin, and use powder if there is no skin. Only with the spiritual stone and superb skills, can Bo Yi works truly reach the realm of "the mind is open and the skills are not shallow, the works are fresh, timeless and infinite in meaning".

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