Abstract
This study focuses on the wood carving art of the Wang Grand Courtyard, aiming to uncover its intrinsic artistic value and formal aesthetics through a systematic investigation grounded in fine arts research. Emphasis is placed on analyzing the visual structure, compositional logic, and material expression of the carvings, while also considering potential strategies for their preservation and reinterpretation in the context of contemporary art.A qualitative research methodology was adopted, involving ten semi-structured interviews with selected participants, including intangible cultural heritage (ICH) inheritors, traditional craftsmen, and art scholars. The sampling adhered to principles of purposiveness and representativeness to ensure both technical insight and disciplinary diversity. The interviews explored key dimensions of wood carving practice, such as motif selection, technique application, compositional design, symbolic layering, and current transmission practices. Data were thematically coded and categorized through inductive analysis, with the aid of NVivo software to support visual mapping and pattern recognition. The theoretical framework integrates semiotics to decode visual symbols and structures, while formalist aesthetic theory guides the interpretation of linework, spatial rhythm, and compositional harmony, emphasizing the internal visual logic of the works.The findings reveal that the wood carvings exemplify refined craftsmanship and a highly structured visual language, articulating order and symbolism through form rather than narrative. Based on this, the study proposes strategies such as digital modeling, art-based pedagogy, and contemporary design adaptation to ensure the ongoing relevance of traditional carving within fine art practice. By situating wood carving within a formal-aesthetic discourse, this research contributes to a deeper understanding of traditional Chinese visual systems and expands the methodological toolkit for contemporary fine arts scholarship.