Because the ancestors don't talk about repairing, they have done it. After being contacted, he went to Beijing five times. I first went to the Forbidden City to carefully study the real thing, and found that the dragon robe was seriously damaged, and there were holes in the sleeves, chest, and waist.

The Forbidden City asked him to make a piece of fabric that was the same as Qianlong's dragon robe. After he returned to Suzhou, he spent several months making a piece of fabric for the dragon robe, and the comrades of the Palace Museum were very satisfied with it, so they signed a contract to repair the dragon robe.

While there wasn't much stress involved in the repairing process, repairing the robe was no easy task. For example, the Forbidden City requires the repair of dragon robes to meet the same technical standards as the originals. The most difficult thing is to make the silk thread old without seeing the traces of repair.

In order to achieve the effect of "repairing the old as the old", the silk thread used must also be aged before it is retained, which adds a procedure and requires more effort, which is also a skill that has been studied by their royal family for generations.

In addition, for general silk works, 40 weft threads are required on a 1 cm warp thread, while 100 threads are required for dragon robes. Therefore, the technique must be tightened, and the silk thread on the already fragile original must not be broken.

Together with his son and daughter-in-law, it took him 10 months and at least 8 hours a day to complete the repair of the dragon robe. Emperor Qianlong's dragon robe was repaired and sent to the Forbidden City, and they were very satisfied with it. Since then, the Palace Museum has asked me many times to repair the dragon robe, and has also sent an expert in cultural relics protection to our studio to learn silk.

The Cultural Heritage Protection Research Center of the Institute of Archaeology of the Chinese Academy of Social Sciences also cooperated with Wang Jialiang Silk Studio of Wang's silk family to set up a "Cultural Heritage Protection Research Base" in Suzhou, mainly to study the silk varieties of the Liao, Jin and Yuan dynasties and a variety of silk crafts that have been lost since the Ming Dynasty.

It mainly depends on the degree of defects, some are a dragon or the head and body of the dragon are missing, and some flowers are missing leaves...... It takes half a year to repair a dragon robe, and some need to do a year, and to a certain extent, it is more difficult to repair a dragon robe than to make a new dragon robe.

Now, these things are left to the sons, and they are to do them. Last year, his son Wang Jianjiang went to the Palace Museum for more than 40 days, specifically to restore the long screen of Qianlong in the Qing Dynasty.

It was a silk dragon robe worn by Emperor Wanli of the Ming Dynasty that was unearthed in Dingling in 1956 and began to be copied for the Capital Museum in 2003. In fact, it was a gown, that is, the emperor's dress, which was worn by the emperor during major celebrations such as the sacrifice of heaven and earth, the temple, and the main day, the winter solstice, and the holy festival.

The dragon robe is commonly known as the folk robe is divided into two kinds of court clothes and casual clothes, there are three basic colors of blue, red and yellow, and on the basis of these three colors, many colors are divided according to the different shades of color. Each robe was 2.8 to 3 meters long, and the emperor wore a pair of special shoes with a heel height of 20 centimeters, and wore something similar to the current skirt to support the robe.

Only by wearing it in this way can the emperor's tallness, majesty and domineering be highlighted. However, the emperor only wore it when he was in court, and he would never wear it in ordinary times. In addition, the front and back of the dragon robe are different.

The front is a golden dragon, and inside is the silver traditional "dragon" character, and these two sides are on the same layer, some people imitate dragon robes, and can only put these two sides on two layers, only their family heirloom craftsmanship can be tied on the same layer. This gown should be one of the most noble dresses.

In the past few months after receiving the task, his sons Wang Jianjiang and Wang Changjiang went to Beijing five times to study and discuss with the Capital Museum on the imitation of dragon robes. They also went to Dingling to see the original appearance of the gown that needs to be imitated, which should be the most luxurious "dragon robe" worn by the Wanli Emperor of the Ming Dynasty, this weathered dragon robe is dominated by dragons, longevity, bats and flame patterns, and its dragon body is emerald green peacock feathers, also known as "peacock feather dragon robe".

One year was spent studying how to use the Ming Dynasty royal dragon robe weaving process more than 400 years ago and cracking the "crux" of weaving twelve dragons with peacock feathers and high-quality gold threads.

Because in the selection of materials for the reproduction and the grasp of the color, there must be no mistakes. And the twelve chapters of the birthday wishing the gown is extremely luxurious, with twelve dragons as the mainstay, each dragon body must be woven with peacock feathers, supplemented by 279 thousand characters and 256 longevity characters woven with gold thread, as well as the sun, moon, stars, ruyi, bats, etc.

In order to be consistent with the original weaving techniques, we use 7 kinds of weaving techniques, such as flat weaving, coil shuttle, shuttle, and alphabet warp, and 100,000 meters of gold thread imported from Japan alone, and 6,000 peacock feathers. It took a family of 5 silk heirs a full three years to complete.

After weaving, it really reproduces the style of the treasure hundreds of years ago, the dragon body is majestic, entrenched on each small dragon robe piece, the golden light is shining, lifelike. This work won the gold medal of the 13th China International Exposition. Later, his son and his family also copied the dragon robe of Emperor Qianlong.

At that time, the teaching mode was still the most traditional oral teaching, learning by watching and doing. It is said that the line of silk usually takes more than three years to "see" before it can independently complete some simple patterns and styles.

Today, although this model is not very efficient, it ensures that this generation of craftsmen has a solid basic skills, and the technique of learning often follows the rules of the master. Although he was born into a family of silk, he learned to make silk at the age of 9, but he has been trying to change and innovate the skills taught by his father.

Young people have to be different from the masters. The three different silk is a gold wire on one side and a silver wire on the other; One side is one pattern, and the other is another; The seal of the maker of the silk is generally positive on one side and reverse on the back, and all of them are positive by using the three-different stitch method.

The invention of this stitch method may have been inspired by double-sided embroidery, when he was in the Wuxian Silk General Factory, he received a job, asking for such a form, and several old comrades in the factory could not do it, so he handed it to him.

When he started researching, he used two layers of cloth, and the middle was empty, but they said that it would not be counted, and that one layer should be used, so I tried it for half a year and finally succeeded. When weaving the work of "Wishing Longevity", I used three different threads, that is, one side is the beautiful and edible longevity peach, and the other side is the heroic calligraphy "Shou", and the seal on the front and back is the same. This work has since won several awards.

There is also a technique is the eyes of the characters, and the usual practice of people to do "eye fairies" is to use one kind of line to complete, and he uses eight kinds of threads, so that the eyes are lived, and you will find that wherever you go, that eye will follow you there.

But in such a small space, it is really not easy to use eight kinds of threads. When someone wanted to learn it, he told them that if you could do it with eight threads, you would learn it.

He remembered that there was a well-known painted Arhat in the Zijin Nunnery in Dongshan, and the eyes of one of the Arhats would move according to the viewer's perspective.

After the work was completed, it was hung on the wall, and some expert masters even fled in fright after seeing it, because that look would follow you.

The general silk is two turns, and the hanging silk can be knotted at the same time at up to 6 turns, and the silk works are more three-dimensional. At that time, when I was at the Kurei Silk Factory, I received an order from Japan, and the patterns on the kimono belt, such as chrysanthemums and other flowers, required a certain three-dimensional shape. He also used a lot of brains, so he used the method of pulling and hanging, and the effect was very good, and the Japanese merchants were very satisfied.

Because after all, they were still doing it to order. This technique looks good, but it also has a drawback, it is high and low, uneven, and ironing is very laborious, but it was also a new technique at the time. On the contrary, facial muscle techniques are now used a lot.

They will have holes when they make silk, but there will be no holes when using this muscle technique, and the hands and body, especially the face and other places that reflect the texture of the body are used with this technique, making the feeling smoother, more delicate and more textured.

At that time, when he was doing "Fu Lu Shou Three Stars", the old birthday star's head was bare, how to reflect the luster of the head, he came up with this method. Due to the application of this new technology, this work won the Jiangsu Provincial Craft Excellence Award. In 2007, he made his first foray into portrait work, creating portrait photographs for a professor and his wife, which resemble the same form as the original.

Sometimes in order to think of a new technology, my brain is so busy that I can't even eat. So he jokes with others, if you can still eat, then you can't do it, if you can't eat, then you will do it. He found that young people today are generally reluctant to use their brains.

Now young people are reluctant to learn and inherit, one is not able to sink down to learn, silk is easy to learn and difficult to refine the craft, it is not easy to do well. On the other hand, young people feel that silk is hard and not as profitable and stable as going to work, so most of the apprentices change careers halfway.

I remember that at the end of the 80s of the 20th century, there were about 10,000 people engaged in this industry, and most of the people in several towns and villages in the suburbs had a machine at home. At that time, almost all of them made Japanese kimonos and obi belts.

At the best of times, a kimono belt can be exchanged for a Japanese car. Skilled silk workers can earn 10,000 yuan a year, and in that era when "10,000 yuan households" were rare, the income of silk technicians was really not low.

However, this good situation did not last long, and the market demand for silk became very small. The price of silk thread has also skyrocketed in recent years, which has undoubtedly increased the cost and selling price of silk products. Because of the uniqueness of the silk process, its consumer group is not large, and the price is too high, many customers do not understand, and it is difficult to bear its high price.

Silk is by no means a way to make a fortune by making extra money. For example, once, a peony flower was made for half a year, and the price was only 20,000 yuan. In the most difficult time, we couldn't pay the wages to the workers, but we had to pay them, so we had to suffer a little harder.

According to the traditional rules, the silk industry is passed on to men and women, but there is no such framework in him, as long as you are willing to learn, I will teach, he passed on the craft to his daughter and daughter-in-law, and even taught many self-created special crafts to other apprentices.

Daughter-in-law Xu Peiying began to learn on the machine when she was 14 years old, and she has been working for 30 years, and now she is also an experienced silk technician, and she also participated in the work of copying Qianlong's dragon robe. The two sons also liked silk.

At the age of 17, the eldest son entered the Wuxian Silk General Factory, started his own silk weaving career, and through his own efforts, he also made small achievements, opened his own silk studio, and worked with him to repair the dragon robe and copy the dragon robe for the Forbidden City. Thankfully, there is a successor, and the youngest son's daughter has also learned silk.

His son also enrolled several college students who were studying, and his principle was that he would never charge any tuition fees if they wanted to. All in order to bring this ancient skill to life and shine in the future.

For the revival and development of silk, breaking the tradition of passing on men but not women, what are his requirements and expectations for silk heirs and young people engaged in the silk industry, or how do you see the prospects of the entire industry?

The value of silk lies in its quality, especially in the Ming and Qing dynasties, silk became the exclusive raw material of the royal dragon robe and gown, and now, the silk is the only weaving and embroidery technique that is not replaced by the machine, and its value cannot be ignored.

However, the rough and cheap products on the market have misled the people's understanding of the value of silk, and there are fewer people who know how to do it, and there are even more people who disagree with the price of a fine silk product of more than 100,000 yuan. Therefore, it is very important to make sure that people can understand the silk.

In addition, the current raw materials and processes are not as good as our time, when there were well-known painters to provide silk sketches, which is on the one hand, if the part of the sketch is not too ideal, we can also improve the deficiencies in their sketches in the weaving process, but now the design and the process are actually a bit out of touch, and the design of the work is often considered by the craftsmen themselves.

Therefore, it is hoped that more young people with painting, textile arts, and marketing expertise will learn about silk and develop silk. While the new generation of craftsmen will inherit the traditional core techniques, it is also best to have their own designs, and root innovative inspiration and ideas into the broad and profound tradition of silk, and many designers can also pay attention to the traditional field of silk, and apply this ancient technique to the design of the new generation, and bring forth the new.

In addition, there should be some breakthroughs in the subject matter. Although silk is a high-end product, it can also be used by the common people, and it can also be developed as a public product, not only as a collection, but also for the inheritance of skills.

Wang Jialiang, born in a silk family in 1939, followed his father to learn silk at the age of 9 and operated a shuttle; At the age of 16, he entered the silk group of Suzhou Embroidery Cooperative with his father, specializing in silk and became the youngest employee in the company. In 1959, Wang Jialiang was sent back to Lu Mu, and did not return to his old business until the 70s of the 20th century, and in 1979, he went to Wuxian Silk General Factory as a technical director.

Under the influence of his predecessors, Wang Jialiang studied techniques, kept improving, and was able to bring forth the new, creating his own three-different needle method, pulling and hanging needle method and muscle method. He also broke with old traditions and passed on his skills not only to his sons, but also to his daughters and daughters-in-law, and now even his grandchildren are involved in the silk industry. 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.