The carvings of Huizhou in the Ming Dynasty presented a style that was simple, restrained and emphasized structural balance. Most of the carvings from this period were used in the decoration of residential buildings, ancestral halls, archways and other structures, mainly featuring the following characteristics:

The carving techniques are simple, primarily consisting of flat carving and low relief carving, with smooth lines that are not overly complicated, creating a clear and harmonious overall outline.

• The carvings emphasize symmetrical beauty, with a rigorous and highly symmetrical composition that reflects the aesthetic consciousness of 'order' and 'rules' in the Ming Dynasty.

•  The content is relatively simple, with themes primarily consisting of auspicious patterns, floral designs, and character stories, expressed in a reserved manner without emphasizing detailed elaboration.

• The carvings integrate decoration and structure, closely fitting the architectural structure to serve the overall function and form of the building.​

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明代的徽州雕刻呈现出质朴、克制、讲究结构平衡的风格。这个时期的雕刻大多用于民居、祠堂、牌坊等建筑装饰中，主要体现为以下几个特点：

• 雕刻技法简洁：多以平雕和浅浮雕为主，线条流畅但不过度繁琐，追求整体轮廓的清晰与协调。

• 注重对称美：构图严谨，对称性强，体现出明代“秩序”与“规矩”的审美意识。

• 内容较为朴实：题材以吉祥图案、花卉纹样、人物故事为主，但表现相对含蓄，不强调细节的铺陈。

• 装饰与结构融合：雕刻往往紧密贴合建筑结构，服务于建筑的整体功能与造型。