The documentary focuses on Qiu Rongyuan, an artisan specializing on Buddhist sculpture. Chongshan is a small village in Suzhou, China. The village's charm lies in people's carving skills. Almost all the families have a small carving factory. Qiu started his Buddha sculpture journey when he was 19 years old. He, unlike most of sculptors who started with draft, starts from the rough wood, and craves it into the shape of buddha as he is imagined. However, the traditional carving is time-consuming as well as money, which discourages the younger generation from pursuing these crafts, potentially leading to a decline in the practice.
Qiu, immersed in crafting unique Buddha statues, believes that creating these sacred pieces doesn't necessitate religious devotion. His workshop, distinct from conventional businesses, accepts custom orders, each demanding unique artistic and spiritual investment. Qiu must find a customer before beginning to carve the sculpture. Unlike the stereotypical image of a sculptor, Qiu acts as a sales agent who needs to find his own clients. Sometimes, he drives hundreds of miles away from his studio for potential buyers.
Despite the challenges, Qiu wants to pass on his skills to the younger generation. Still, the craft requires passion and foundational knowledge in visual arts, which is often discouraged by financial instability and market competition. The pieces, primarily made from camphorwood, are valued beyond their material cost, embodying hours of craftsmanship and spiritual essence. With the increasing market challenges and competition from other craftsmen not just in this town, Qiu remains dedicated to authenticity, taking time to find inspiration and ensuring quality over quantity. Each sculpture undergoes a consecration process by the artisan or a monk before finding its place in temples or homes as an object of veneration. Parallel to the journey of his creations, he told me that, “I want to leave something to the world.”
Qiu envisions organizing an exhibition to showcase his works, resembling the journey as an artisan and the enlightenment he has gained.
There is a Chinese Phrase called "从无到有," which means from nothing to something or from non-existence to existence. I really enjoy observing the process of the transformation from nothing to something, and the process of crafting a Buddha sculpture is "从无到有." An artisan starts with a raw, unshaped block of material—be it stone, wood, or metal—and, through meticulous effort, transforms it into a detailed, lifelike representation of the Buddha. The essence of transforming from a formless material into a meaningful sculpture lies in the cut of bringing something into existence from nothing. The art of Buddha sculpture carving has evolved over thousands of years, with each generation adding its unique touch. By taking an interest in this art form, one is participating in the continuation of a tradition, ensuring that an ancient craft evolves and thrives, moving from the nothing (无) to something (有).
This documentary took me three months from nothing to something. Producing a documentary is the same as writing a visual book. It tells a story by weaving into visual and audible elements. I hope my documentary can become a reference someday. When people think about the Buddha sculpture, they will watch my documentary. But this is always challenging. Preliminary preparation is always the most difficult part for me. While I am not inclined to meticulously plan everything in advance, the production stage is where I enjoy the most. Nonetheless, I realize the importance of thorough preparation in filmmaking. I kept rewriting the script and the shot list to ensure the shooting process. It worked.
For future projects, I aim to approach the planning phase with the same enthusiasm I reserve for production. Doing so allows me to anticipate obstacles and refine the narrative arc before the camera starts rolling. Additionally, I plan to spend more time on field research and engage more deeply with my subjects, allowing for a richer, more informed storytelling experience. I am ready to embark on more journeys from nothing to something, armed with a deeper understanding of the documentary-making process and a newfound respect for the meticulous planning that it entails. Most importantly, I am ready for more challenges from nothing to something in the documentary industry.
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