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Rugged yet skillful hands: Crafting colorful rooftops

一双手，塑造缤纷屋脊

On the lively Yongqingfang Street in Liwan District of ity makes mass production impractical, relying instead on the
Guangzhou, tourists bustle about, creating a vibrant atmos- skill of artisans. “Lime is the primary material used in plaster
phere. At a scaffold near the entrance of an alley, Shao Cheng- sculpture. I’ve been working with lime for decades; my hands
cun is deeply immersed in the craft of plaster sculpture. may be rough, but that’s not an issue!” Shao remarked.
Plaster sculpture is primarily employed for decorative Shao Chengcun’s plaster sculpture craft has been passed
purposes on architectural features such as doors, windows, down from his father, Shao Yaobo. “I first encountered plaster
eaves, pavilions, and archways in the Lingnan region, which sculpture in 1979 at Liurong Temple during my winter vaca-
includes present-day Guangdong Province, Guangxi Zhuang tion when my father took me along to craft plaster sculptures.”
Autonomous Region, Hainan Province, and parts of Hunan Witnessing ordinary materials like copper wire and lime
and Jiangxi provinces. Renowned for its vibrant colors, plaster transform into vibrant plaster lions through his father’s skilled
sculpture not only offers aesthetic appeal but also showcases hands sparked a passion in Shao Chengcun.
the architectural ingenuity of the Lingnan people. Shao ex- He learned step by step alongside his father, mastering the
plains that by using the most common material—lime—plaster fundamental techniques of plaster sculpture, from mixing the
sculptures can endure centuries of exposure to the elements, plaster and sketching to shaping and applying colors. In 1987,
effectively addressing challenges posed by the region’s hot and to test his progress, his father allowed him to take on plaster
humid climate, including heat retention, moisture intrusion, sculpture projects independently. “That was when I realized
wind erosion, and pest resistance in traditional buildings. that, although plaster sculpture appears simple, the craft is actu-
“Whether in a thunderstorm or during the extremely hu- ally limitless. Whenever I encountered something, I didn't under-
mid rainy season, water droplets do not accumulate inside stand while working, I would ask my father immediately.”
Lingnan's ancient buildings, thanks to lime’s ability to absorb Shao Chengcun mentioned that the most valuable lesson
moisture and release it when the sun shines,” Shao explained, he learned from his father is the importance of integrity in
adding that the large plaster sculptures on eaves help secure craftsmanship: “Work diligently and hone your skills; that’s
the tiles against typhoons, thereby safeguarding those within. how you make a living.” The craft of plaster sculpture allows
Shao considers plaster sculpture a “breathing” form of dec- no room for laziness. “If your skills aren’t up to par, no one
orative art, constantly adapting to the heat and humidity of will hire you to create plaster sculptures,” he said.
the Lingnan climate. He believes this architectural innovation Shao Chengcun also learns from the works of earlier gen-
represents a valuable heritage passed down from ancestors to erations of plaster sculptors. When creating plaster sculptures,
future generations. he often finds that one side retains the original piece, while
Typically, plaster sculpture is crafted directly on buildings, the original piece on the other side has been lost over time.
highlighting the importance of on-site production tailored to “As I recreate the piece on the right, I constantly compare it
the specific structure and its surroundings. Its strong malleabil- to the original on the left. The lions on the roof eaves embody
both movement and stillness, displaying many variations.
Each plaster sculpture has its own character; they are never
identical.” Now, Shao Chengcun has developed a profound
understanding of the temperament of every bird and beast
depicted on the roof ridges. These silent lessons from the past
have deepened his appreciation for the art of plaster sculpture
and connected him to the craftsmanship of his predecessors.