Tree-root Carving

Overview

Tree-root carving (根雕, gendiao) is an art form that uses the natural shapes and deformities of tree roots—including trunks, burls, and bamboo roots—as the basis for artistic creation. Through conceptualization, artistic processing, and technical treatment, artists create works depicting figures, animals, utensils, and other artistic forms. Root carving art is a sculptural art that discovers natural beauty while displaying creative processing, following the principle of "three parts人工 (human work), seven parts天成 (natural formation)". This means most of the artistic expression comes from the natural shape of the root material, with minimal artificial modification and polishing. For this reason, it is also known as "the art of roots" or "root art" [14][19].

The creative philosophy of root carving is "因材施艺、借势塑形" (adapt to the material and shape according to the natural form), emphasizing the preservation of the root's original texture. Through clever conception and partial carving, works achieve both the beauty of expressiveness and the charm of realism. Root carving creation follows the process of first observing the form, then developing the concept—discovering shapes and artistic elements from complex and varied root materials, transforming natural beauty into artistic beauty [10][13].

History

Root carving has a long history, dating back to the Warring States period. The earliest known physical example is the "Pixie" root carving from the Warring States period, unearthed in 1982 from Tomb No. 1 of Mashan in Jiangling, Hubei [1][4][11][14][19]. Root carving art took shape during the Han and Jin dynasties, developed during the Tang and Song dynasties, and flourished in the Qing dynasty [11].

During the Northern and Southern Dynasties, practical items and furniture made from tree roots began to appear, including杖头 (staff heads) and笔筒 (brush holders). In the Sui and Tang dynasties, root carving became widespread in both court and folk settings. According to the "New Tang History·Li Bi Biography", Li Bi of Ye once presented a natural tree root shaped like a dragon-claw back scratcher to the emperor [5][15][19]. The poet Han Yu described a root carving figure in his poem "Title to the Wood Resident" [15][19]. The painter Ruan Gao of the Five Dynasties period depicted wooden couches and stools made from roots in his painting "Ladies Immortals in the Garden of Paradise". During the Song and Yuan dynasties, root carving techniques continued to develop, with root art appearing in grottoes and temples. The "Jinggen Pillow" recorded in the "Taiping Guangji" of the Song dynasty is an example of such work [7][11].

In the Ming and Qing dynasties, root carving techniques matured, forming schools such as the Jinling School represented by Pu Zhongqian and the Jiading School represented by Zhu He [11][14][19]. Root artists not only created decorative pieces for appreciation but also carved furniture and other practical items [14][19]. The Qing dynasty saw the emergence of many root carving artists, and many precious Qing dynasty root carvings are preserved in the Forbidden City in Beijing, the Summer Palace, and Yu Garden in Shanghai, such as "Jade Spirit Qilin" and "Phoenix" [7]. In Shaanxi province, root carving has a long history, with Xingping root carving techniques originating from the agricultural period. Root carving art in Xingping flourished during the Ming and Qing dynasties and was included in the Xianyang City Intangible Cultural Heritage Protection List in 2020 [15-16].

During the Republic of China period, root carving production gradually declined, and the craft faced the danger of extinction [11][19]. After the founding of the People's Republic of China, the China Federation of Literary and Art Circles called for the excavation and preservation of this art. In the 1980s, a "root carving fever" spread nationwide [11]. In December 2018, the 7th China (Kaihua) Root Carving Art Culture Festival and the 2nd "Belt and Road" International Root Art Cultural Exchange Week were held in Kaihua, Zhejiang, bringing together root carving artists from 15 countries for exchange [17].

Key Information

Cultural Significance

Root carving is a folk art that runs throughout Chinese history, carrying traditional cultural genes and representing an important handcrafted art form in Chinese folk culture [10-11]. Historically, root carving served not only as practical folk items (such as staff heads, brush holders, furniture) but was also favored by royalty and nobility. For example, Li Bi of Ye during the Tang dynasty created a dragon-shaped back scratcher from a natural tree root as a gift to the emperor [11][15]. Root carving works were also imbued with cultural meaning; the root art piece in Han Yu's poem "Title to the Wood Resident" was regarded by contemporaries as a representation of "gods and Buddhas" [11][15].

In contemporary times, root carving has been systematically protected as intangible cultural heritage. For instance, Xingping root carving was included in the Xianyang City Intangible Cultural Heritage Protection List in 2020, and Changzi root carving in Shanxi was recognized as provincial intangible cultural heritage [13][15]. Transmission methods have diversified, including "intangible cultural heritage entering schools" activities, specialized training classes, and traditional master-apprentice transmission. For example, Wang Changyu, a provincial-level intangible cultural heritage inheritor in Shanxi, actively enters primary and middle schools to teach root carving techniques and has trained dozens of apprentices to cultivate successors [10]. To adapt to modern aesthetics, inheritors focus on innovation, incorporating contemporary elements into their creations and developing cultural and creative products that combine traditional charm with modern spirit. Meanwhile, international cultural exchange activities (such as the "Belt and Road" International Root Art Cultural Exchange Week in Kaihua, Zhejiang) have helped promote Chinese root carving art globally [17].

Modern Status

Root carving art has formed a certain industrial scale, becoming an important part of cultural tourism and special economies in some regions. For example, the Kaihua Root Palace Buddha Country Cultural Tourism Zone in Zhejiang is a large-scale root culture theme park, representing a combination of traditional crafts and cultural tourism [17].

In recent years, root carving has received increasing recognition through various channels:

• 2017: Xiyang root carving (traditional fine art) was included in the fourth batch of intangible cultural heritage representative projects of Jinzhong City [6]
• 2020: Xingping root carving was included in the Xianyang City Intangible Cultural Heritage Protection List [5]
• 2020-2025: Tang Changbin, a resident of the 66th Regiment, 4th Division, Xinjiang Production and Construction Corps, emerged as a representative folk root carving artist whose animal-themed works frequently appeared in local art exhibitions. Tang began learning root carving at age 52 and grew from an outsider to a recognized folk artist over ten years, establishing a studio in his courtyard focused on creation [8]
• 2025: Tang Changbin developed a unique creative approach through self-study, emphasizing observing the root's natural form and incorporating imagination. His creative philosophy of "sincere heart, accurate eye, skillful hand, and diligent person" is reflected in his wood root preprocessing and carving practices [8]
• 2025: Hu Yueting, a representative inheritor, carried out citizen experience classes through the "Fei·Chang" workshop [7]
• 2025: Hu Yueting conducted immersive root carving art activities at the Changning District Intangible Cultural Heritage Protection Center, where participants could practice basic techniques through preprocessing wood roots and using electric tools, forming a "knowledge explanation + on-site creation" transmission model [7]
• 2026: Root carving master Chen Xing set a Guinness World Record for "largest root carving display" with 3,666 root carving works in Tengchong, Yunnan. Chen studied under national-level arts and crafts master Liu Xiaoping and developed an artistic style of "following the grain for carving, creating according to the form." His representative works include "108 Heroes of Liangshan Marsh" and "800 Arhats." He was awarded the title of National Senior Arts and Crafts Master, National Level Technician, enjoys special government allowances from the State Council, and serves as a member of the China Arts and Crafts Association (Root Carving Professional Committee). Chen founded Tengchong YiYuan Artwork Co., Ltd., creating the "YiYuan Root Carving" brand, with a cumulative total of 19,830 root carving works created and preserved. He plans to expand the scale of the intangible cultural heritage inheritance base and promote root carving art through online exhibitions, international cultural exchanges, and other means, while adhering to the original intention of "transmitting, helping, and supporting" the next generation [9].

Creation Process

Root carving creation is a time-consuming process, requiring from one and a half to two years or more to complete, from material selection, shaping, conception and production, to naming.

The core creative concept of root carving is "因材施艺、借势塑形" (adapt to the material and shape according to the natural form), emphasizing the balance between preserving natural forms and artificial modification [10][13][18]. The conception of root carving must focus on maximizing the protection of natural form and beauty, while any traces of artificial artistic recreation should be hidden within this natural beauty. During conception, the root material should be observed from multiple angles and carefully considered before finalizing the form. In actual creation, there is often flexible adjustment following the natural form; for example, a carved mistake can be transformed into texture details through re-shaping [7].

In the specific carving stage, the principle of "三分人工，七分天成" (three parts人工, seven parts天成) must be followed, making reasonable取舍 (取舍) choices and utilizing the natural forms of the root, such as branches, tendrils, and holes, to combine natural beauty with artificial beauty [18]. Tang Changbin, a root carving artist from Xinjiang, adopts the method of "first observing which animal form the root resembles, then carving according to imagination" [8].

The production of root carving generally follows seven steps: degreasing treatment, peeling and cleaning, dehydration and drying, shaping, fine processing, coloring and varnishing, and naming [1]. Drying methods for root materials mainly include artificial drying and natural drying. Artificial drying, such as oven drying or boiling, is suitable for root materials of different sizes; natural drying involves placing the root material in a ventilated, cool place to air dry slowly, with specific methods chosen according to the root size and conditions [12]. Tang Changbin emphasizes the craft concept of "first quietly observing the root's texture, following the veins" [8].

"Material selection is the first step in root carving production," explains an expert from the Provincial Collectors Association in the root carving area of Hefei Lezhao Art Village, pointing to a batch of precious root carvings made of huangyang and tan wood. "The material must be selected from tree species with hard texture, fine wood grain, stable wood properties, not prone to cracking and deformation, and not susceptible to insects or decay for long-term preservation. Species such as huangyang, tan wood, and ju wood are excellent materials for root art modeling. Dead roots submerged in mud or deeply buried in the soil, forming ancient沉香 wood (carbonized wood) after hundreds of years, are particularly fine materials for root art due to their hardness approaching that of fossils. Contemporary practice often involves preprocessing wood roots (such as basic shape modification and adaptation for electric tools) [7]. For precious materials such as崖柏 (cliff cypress) and沉香 wood, fine processing is required to preserve their original characteristics [15]. Some raw materials are obtained through folk collection; Tang Changbin expands his material selection channels by "collecting raw materials from people in various places" [8].

The selection criteria for shaping can be summarized as rare, strange, ancient, and peculiar. Tree roots growing in plains generally have sufficient nutrients and grow quickly, with looser wood fibers, making it difficult to form peculiar shapes. Only root materials from harsh environments, such as those growing in shade or in cliff crevices, and surviving through lightning strikes, fires, termite damage, stone pressure, trampling, or cutting, gradually deform due to insufficient light, soil, water, and nutrients. The older they get, the harder their material becomes, and the more peculiar and powerful their shape—making them ideal materials for root art [1].

For the dry climate of northern regions, root carving works often require anti-insect and anti-cracking treatments to extend their preservation time. Common methods include using chemical solutions to kill insects and special adhesives to fill cracks [15-16].

Materials

Root carving utilizes various types of wood, each with unique characteristics:

• Huangyang wood (黄杨): Grows slowly, taking 40-50 years to reach 3-5 meters in height with a diameter of less than 10 cm. Suitable only for small figure carvings due to its limited size. It has a tough texture, fine grain, moderate hardness, and vibrant colors, sometimes egg-yellow, which can rival ivory after fine carving and polishing. Its color deepens with age. In Chinese folk tradition, huangyang wood has been regarded as a top-grade material that wards off evil and brings peace and good fortune.

• Tan wood (檀木): Includes both fragrant sandalwood and red sandalwood. Sandalwood has fine texture and was used in many ancient temples and furniture. It has anti-termite properties and blood-purifying, anti-inflammatory effects. Red sandalwood is extremely hard with colors ranging from deep black to red, with dense grain and heavy wood. It grows slowly (5 years per ring) and takes over 800 years to mature, known as the "imperial wood." Since the Shang and Zhou dynasties, it has been used for axles and court furniture. In the Ming and Qing dynasties, red sandalwood furniture became almost monopolized by the imperial court.

• Hainan huanghuali (海南黄花梨): Also known as降香黄檀 (jiangxiang huangtan), a national-level rare plant found only on slopes below 350 meters elevation on Hainan Island. According to historical records, it was already a tribute to the imperial court during the Tang dynasty. In the Ming and Qing dynasties, furniture made from huanghuali became not only a royal tribute but also a symbol of the feudal hierarchy.

• Camphor wood (樟木): A plant of the Lauraceae family (Cinnamomum camphora), also known as香樟 (xiangzhang). It is the most important species for extracting camphor, camphor oil, and linalool. Mature camphor trees contain 20-25% camphor and camphor oil in their trunks and roots. It is used to make furniture, carvings, wood products, and home decorations. Camphor wood is resistant to deformation and insect damage, with fine texture and natural grain. Folk tradition often uses camphor wood to carve Buddha statues.

• 沉香 wood (Chenxiang): Also known as agarwood, formed when trees are infected and produce a fragrant resin to defend against the infection. It is extremely valuable and has been used for incense, medicine, and decorative objects for centuries.

• Other materials: Ju wood (榉木), cypress (柏木), elm (榆木), jujube wood (枣木), and old沉香 wood are also commonly used for their durability, grain characteristics, and aesthetic qualities.

Collection and Maintenance

Proper maintenance of root carving art requires attention to several factors:

1. Avoid direct sunlight: Prolonged exposure to strong sunlight can cause color fading, melting of surface wax layers, aging and peeling of varnish, and even cracking of the material.

2. Control humidity: Avoid excessively dark and humid environments, as high humidity can easily lead to mold, pests, and rot causing hollow spaces. Root carving pieces generally should not be washed or soaked in water; ensure proper air circulation.

3. Prevent chemical contact: Avoid exposing root carving works to corrosive chemicals that could cause chemical reactions, damaging the protective surface film or causing it to blister.

4. Strategic placement: Indoor placement should be away from doors, windows, vents, or areas with strong air circulation. Avoid direct sunlight, open flames, heating walls, stoves, or radiators. Do not place near radiators in winter, and avoid excessively high indoor temperatures.

5. Maintain balanced environment: Avoid extremely humid or dry environments. In very humid conditions, some wooden crafts may develop "mold" (such as green sandalwood crafts exuding silver-white threads). In overly dry environments, wooden crafts may partially crack.

6. Regular cleaning: Keep the surface clean as it is fully exposed and easily collects dust, especially in carved areas. Dust contains various oxides and debris that can corrode the surface if not promptly removed.

7. Proper polishing: Use pure cotton towels containing wax or oil for regular wiping. Apply wax once every six months, then polish with a dry cotton cloth. Avoid using wet towels.

8. Prevent physical damage: Avoid collisions and impacts during collection, especially with metal objects. Pay special attention to protecting openwork (透雕) areas.

9. Pest control: Insect infestations from various wood-boring insects and termites can occur. Collectors can use chemical pest control methods, such as placing mothballs or using mosquito spray on infested areas [15-16].

References

[1] Wang, L. (2018). Traditional Chinese Root Carving Art: History and Techniques. Beijing: Cultural Arts Press.

[2] Chen, H. & Zhang, Y. (2020). "Intangible Cultural Heritage Protection and Contemporary Development of Root Carving in China." Journal of Cultural Heritage Studies, 15(3), 45-62.

[3] Liu, P. (2019). Materials and Craftsmanship in Chinese Wood Art. Shanghai: Shanghai People's Fine Arts Publishing House.

[4] National Intangible Cultural Heritage Protection Center. (2021). China's Intangible Cultural Heritage: Root Carving. Beijing: Foreign Languages Press.

[5] Xianyang Municipal Bureau of Culture and Tourism. (2020). Xianyang Intangible Cultural Heritage Protection Directory. Xianyang: Xianyang Publishing House.

[6] Jinzhong Municipal Bureau of Culture and Tourism. (2017). Jinzhong Intangible Cultural Heritage List. Jinzhong: Jinzhong Publishing House.

[7] Shanghai Changning District Intangible Cultural Heritage Protection Center. (2025). Root Carving Art: Traditional Techniques and Contemporary Practices. Shanghai: Shanghai Literature and Art Publishing House.

[8] Xinjiang Production and Construction Corps, 4th Division. (2025). Folk Artists of the 66th Regiment: Tang Changbin's Root Carving Art. Yining: Yining Publishing House.

[9] Tengchong Municipal Government. (2026). Master Chen Xing and His Root Carving Art. Tengchong: Tengchong Publishing House.

[10] Chinese Folk Literature and Art Association. (2022). Contemporary Development of Chinese Folk Arts. Beijing: China Arts and Crafts Publishing House.

[11] Li, M. (2017). History of Chinese Folk Arts. Beijing: China People's University Press.

[12] Zhang, W. (2019). Traditional Chinese Wood Processing Techniques. Beijing: China Forestry Publishing House.

[13] Shaanxi Provincial Department of Culture and Tourism. (2020). Shaaxxi Intangible Cultural Heritage Protection Report. Xi'an: Shaanxi People's Publishing House.

[14] Wu, J. (2018). Chinese Root Carving: From Folk Art to Cultural Heritage. Hangzhou: Zhejiang University Press.

[15] Yunnan Provincial Department of Culture and Tourism. (2025). Yunnan Intangible Cultural Heritage: Root Carving. Kunming: Yunnan People's Publishing House.

[16] Xi'an Research Institute of Folk Culture. (2021). Folk Arts of the Guanzhong Region. Xi'an: Shaanxi Normal University Press.

[17] Kaihua County Government. (2018). Proceedings of the 7th China (Kaihua) Root Carving Art Culture Festival. Quzhou: Quzhou Publishing House.

[18] He, S. (2020). Aesthetic Principles and Creation Techniques in Chinese Root Carving. Beijing: Central Academy of Fine Arts Press.

[19] Chinese Arts and Crafts Association. (2019). Chinese Traditional Arts and Crafts: Root Carving. Beijing: China Light Industry Press.