At that time, the deepest memory was that it was 11 o'clock in the evening, we were on duty in the store, and the house and outside were quiet, it was 11 o'clock in winter, it was quite late, and it was time to be quiet. He washed his face, sat down at the workbench, turned on the lamp, and did the repairs. He sat there and carved each one with the utmost care, and there could be no mistake in the slightest. The mentality at that time was: they wanted to be recognized by others, let others know our level.

This situation did not improve until the first big order was received. It was introduced to the eldest brother I met in the factory before. In fact, this was supposed to be a big business of his own, but halfway through, he had an accident and got burned, and we went to the hospital to see him. Although there was such a serious accident, but the order

It still has to be done, otherwise he will have to pay liquidated damages. He handed over the business to us, and they worked overtime to get it out, and a bunch of people worked in the house day and night. Because of this work, they had their first income, and later some people came to the door to do the repair work.

At the beginning, the workshop was all about processing and restoration. But now they are slowly on the right track and have to change direction, because they can't always process and repair, to put it bluntly, dry processing is equivalent to working for others.

They can't work someone else for the rest of their lives. They have their own independent products, and they are in their forties, when they are at their most energetic, and they can make something. It doesn't make sense to wait for 20 years to find yourself empty-handed and have no work.

Although it may be more difficult to walk this way, they still have to go. They have come to this day not only to make money, but also to have responsibilities, beliefs, and ideals in this business. Why did they name the workshop "Zhonghetai"? Because the three of them together are as stable as Mount Tai, and they can't do without anyone, and together they are the strongest. I hope that their strong belief can be passed on from generation to generation, and "Zhonghetai" will become a time-honored brand.

He is the same age as Li Zhongqiang and was born in 1981.

Now it is not easy to do handicrafts, and it is not easy to enter the market. For example, gold and silver products, may be in Guangzhou, Fujian, their production process is particularly simple, through machine design, casting, the main process is to blow a mold, cast out of things, understand the pedestrian to see, is lifeless things.

But most people don't know very well, four dollars and six cents of raw materials to make finished products, sell for five yuan, everyone thinks it is cheap to consume that, which has a great impact on the market.

They who do handicrafts know this phenomenon, and there will definitely be a lot of impact due to modernization, and they will also sit down and think about how to stick to it.

Traditional handicrafts can be divided into two kinds, one is the material things of life, the other is the needs of culture and spirit, and you can easily be surpassed by modern technology in terms of material life. Some time ago, I met an old craftsman, an old man in his sixties, who made wooden bowls with a pedal spiral wooden lathe.

The old man said that no one learned from him, because this process is very dangerous, this kind of skill will be eliminated, the progress of the times, the progress of technology, there is a new process to replace it, these things will naturally be eliminated.

But works of art are related to spirituality, which cannot be replaced by material, and spiritual things cannot be given by machines. These two levels are not the same, you have to pursue something from the spiritual world, and this thing can only get more and more expensive. So we feel that we have to make fine products, just like calligraphy and painting, the works of famous artists are tens of thousands of dollars per foot, and the printed matter is a few dollars per foot, so that this craft can survive.

They are not against the fact that the current technology has brought some convenience to the old handicrafts, which must be there, but the cultural value and cultural information behind the old handicrafts, modern technology cannot give it, it can only serve your ideas, and it is the works that convey the ideas.

What they can innovate is to combine old craftsmanship with new craftsmanship, and such a combination is imperative, which must be done if an industry's ancient skills are to survive in this era. Now some southern jewelry manufacturers are also aware of the combination of the old and the new, and they join hands with silversmiths and craftsmen to combine a certain element with handicrafts, and the things they make will be more vigorous.

Now the problem is that people who are engaged in traditional crafts and those who are engaged in modern jewelry look down on each other. Most of the techniques of modern jewelry come from the West. When traditional skills collide with something foreign, something new will be created.

Just like the Chinese painting school, ordinary people who play ink and blue will not look down on oil paintings, thinking that what you are painting is the artistic conception of what we paint. What Chinese painting wants to express is outside the painting, and foreign paintings are realistic, and what you want to say is inside. This is the difference between China and the West.

Now that the three of them have been named as the representative inheritors of the art of masking, Li Zhongqiang said: "As an inheritor, you have to pay more attention to the culture and history of the objects, and those details cannot be passed on wrongly." Apprentices have also been added to the workshop, and some of them have followed three masters at the beginning of the business: "We probably brought more than ten apprentices. The qualifications of apprentices are also high and low, some have more advanced ideas, and some have relatively simple and single ideas. ”

Liu Tiejun said that good craftsmen are not taught: "Just like sculpture and painting, they are all realized by themselves." For example, when learning to draw, the teacher can tell you how to play the tune, but the teacher will not tell you if there will be a tune in this place. Although the students learned the same method, the level of the paintings was completely different. ”

"We're taking apprentices now, how to chise, it's just a method, the key is that feeling. Our inheritance is a living inheritance, and the so-called living inheritance refers to passing on our thinking patterns to him, not that I will teach you the way to do this. This is only part of it, and in the end, this belief, this concept, is passed on to him, and this is the real inheritance. He understands that only then can he truly embody something better and more perfect through his own means. ”

Qu Zhiqiang believes that inheritance is not only about passing on technology, but also about the inheritance of traditional customs: "In fact, when it comes to our inheritance, we are also passing on customs. If we can use the platform of the autonomous region or cooperate with the Ministry of Education, we can go to the school and build a classroom, several classes a week, so that the children can feel the metal material, which is a simple way. This kind of inheritance may be more effective than if we were to recruit apprentices in society.

"In school, children are relatively unburdened, and their lives are borne by their parents. So he doesn't have to deal with a lot of real economic problems directly. Once he goes to society and wants to learn this thing, he will ask: Master, can you give some money? I said that you come to learn something, and as soon as you come in, you will ask if you can give some money, which is unrealistic. But this is a concrete, real problem that craftsmen have to face. ”

Li Zhongqiang said: "This is also popularizing the culture of craftsmanship, and now even the locals of Inner Mongolia do not understand the culture of Inner Mongolia." We attended an exhibition before, and someone from Hohwa came to me and asked me how much this sword sold for, and I said that it was called a Mongolian sword, not a sword. And then I kept explaining to him, what is it...... This is to explain our own culture to the people of Hoshi. And he wasn't the only one, most people saw the Mongolian sword and asked, 'How much does this sword cost?' ”

"So I don't blame consumers for only buying cheap ones, it's because they don't understand the quality of handicrafts and don't know the value in them, so they will have wrong consumption, thinking that buying cheap is taking advantage of the big advantage. This requires us to do the work of popularization. ”

Liu Tiejun said: "In fact, now everyone has a high level of education, usually has the accumulation of culture, has some aesthetic awareness, and can also distinguish which ones are beautiful." So as long as it's fine, someone will come to see it. After fine carving, the finished product is placed there, and it exudes its brilliance. Although people don't know the doorway inside, they can feel what's inside. It's not like those cheap goods are left there coldly, so we still have to make things fine, it's not just for business, it's our responsibility. ”

"Someone once came to poach me and said they would give me hundreds of thousands of dollars a year. I said, 'Brother, it's useless. It doesn't matter how much money you have. I'm not a businessman. 'The merchant collects all the handmade silver, regardless of price or quality, and sells it in one place. I don't even have to go to the front desk, I just sit behind the surveillance camera drinking tea, smoking cigarettes, collecting money, this is a businessman. But I'm not like that.

"My life has been spent in ding dong dong, striking silver and copper every day, and I am a senior practitioner. I just love it. Someone asked why he could do it to this extent just because he liked it, and I think the best answer was a lyric from Qi Qin, and we all bought his genuine tape at that time. He sings, 'Pain and Happiness,' a phrase that we have felt over the years. ”

Mongolian women's headdresses are the most colorful part of Mongolian costumes, and they have gradually developed a unique style over time. It condenses the aesthetic consciousness and life interest of the Mongolian nation, and is a concentrated display of history and culture, natural environment, national psychology and lifestyle, which not only carries the rich national emotions of the Mongolian people, but also integrates extraordinary imagination and wise design ideas.

The Mongolian people are a beauty-loving people, and they beautify some labor and daily necessities and make them an integral part of clothing. The ornate headdresses are mostly decorated with gold and silver jewelry, which is related to the living customs of the Mongolian people in addition to the natural environment and religious beliefs, showing the national personality and self-esteem.

Since ancient times, the Mongolian people have been mainly nomadic, and the natural environment, production and lifestyle have created their pursuit of material life and spiritual life. Even in modern times, this way still occupies their lives. Herders converted their main wealth, livestock, into gold, silver and jewelry, and wore them to show their wealth, but also to preserve and migrate.

Accessories are also a symbol of wealth and beauty, and Mongolian women especially like to decorate themselves with jewelry, and it is not too much to describe them as "draped all over". The tiara is their favorite.

According to relevant historical records, as early as the Bronze Age, the Mongolian Plateau had a headdress production process. It can be seen from the bronze ornaments such as earrings, earrings, and headsets found in the relics that people's imagination and aesthetics have reached a certain height during this period.

It can be seen from the real objects unearthed by the Xiongnu and Xianbei nomads that the headdresses at that time were mostly made of gold and silver, mussels, jade, crystal, agate, metal and ochre and other raw materials, and their structure and shape are similar to the headdresses of modern Ordos and Chahar women, and the whole decorative pattern shows the life emotions and hobbies of the nomads.

In the Mengyuan period, the development of folk handicrafts became more progressive, and the headdress was beautiful, large and heavy, and the luxury of its gemstone types, craft shapes, and patterns and patterns could be said to be rare in history. Most of the headdresses handed down by the people today are relics of the Qing Dynasty.

During the Qing Dynasty, the alliance flag system was implemented in the Mongolian areas, which made the differences in economic conditions, cultural concepts and living customs between the tribes more and more obvious, and also promoted the rapid formation of the tribal clothing culture.

During this period, the shape of the headdress tended to be more slender, complex and delicate, showing the distinctive characteristics of grace and luxury, simple and dignified, delicate and beautiful, or simple and generous. A Mongolian woman dressed in a costume has a headdress that weighs three or four pounds in light and more than a dozen pounds in weight.

These headdresses are not just simple ornaments, but cultural carriers rooted in Mongolian social life, interpreting the profound connotation of Mongolian folk culture and witnessing the beauty of national handicrafts.

In addition to living in the Inner Mongolia Autonomous Region, the Mongolian ethnic group is also distributed in many provinces and regions in China, so the types of headdresses are rich and diverse, each with its own characteristics. Different regions, different identities, different ages, the combination of headdresses is not the same, even the same tribe, but also slightly different due to different regions.

Some tribes are also divided into girls' headdresses, bridal headdresses, and married women's headdresses. Some areas also pay attention to the wearing method, and the headdress combination of ornaments is as many as dozens of kinds, such as Ordos, Turgot, Heshute, Ulate, Khalkha, Dulbert, Balhu, Chahar, Buryatia, Uzhumuqin, Horqin headdress, hairpin, hairpin, flat square, step shake, auspicious seat, earrings, bead chain and all kinds of pendant rings, silver chains, decorative earrings, gold and silver collars, etc., dressed up can be described as bead curtain hanging surface, dazzling.

The structure of the headdress has dozens of types, such as stone bead chain pendant type, arrigal horn type, hairpin hairpin combination, hat braid sleeve type, bead chain braid sleeve combination, forehead hoop curtain combination type, etc. In the process, techniques such as hammering, braiding, chiseling, inlay, and carving are mostly adopted.

The ornament patterns are mostly composed of various flowers, cordyceps, sausages, and auspicious patterns, which are exquisite and exquisite. Ordos, Ulate, Balhu, and Horqin headdresses can be said to be the most representative and are among the boutiques.

The production of headdresses in the Qing Dynasty was exquisite, with a large number of materials such as gold and silver, coral, agate, pine ear stone, jade, amber, jade, and pearls, and the appearance characteristics changed greatly, and the production process was also different. Most of the headdresses are based on red, which is related to the Mongol ethnic beliefs.

Red coral is pure in color, and pearl, amber are listed as the three major organic gemstones, is the mascot of the Buddha, represents the noble power, is regarded as an auspicious and happy thing by the Mongolians, called "Ruibao". It means to drive away evil spirits, be auspicious and wealthy, and is a symbol of happiness and eternity.

Not only is it a beautiful color, but it is also said to be a gift from the gods. Silver symbolizes holiness and is also highly prized by the Mongolian people. Therefore, they are often used as decorations in clothing and ornaments.

Ordos is one of the ancient tribes of the Mongolian nationality, with a deep accumulation of clothing culture, and the headdress is known as the best, and has the reputation of "the crown of the headdress". Silver chains, silver bells, chisel flower patches are embellished, consume more silver, and rows of red coral inlays, the shape is gorgeous, the craftsmanship is exquisite, the volume and weight are more than other tribes, it is the most gorgeous decoration when the Ordos girl is married. Take a look at the latest chapters of "Dream Claw Book House in the Great Era" and read it for free for the first time.