"The masking process is a process in which the parts are assembled in the form of engraving, welding or filigree according to the design drawings to form a complete handicraft after forming a whole, and then it is expressed more perfectly through gilding, grinding, polishing and other forms."

"Zhonghetai" workshop inlay artist Li Zhongqiang introduced the inlay in this way.

Li Zhongqiang, together with Liu Tiejun and Qu Zhiqiang, founded the "Zhonghetai" workshop, specializing in masking craft art.

The Mongolian people have a tradition of using gold and silverware, and gold and silver are indispensable on saddles, Mongolian knives, and Mongolian clothing. Especially silverware, which is considered white and sacred by the Mongolian people. And because silver can detoxify, it is said that silver has a high status in the hearts of the Mongolian people. In the process of using silverware, some corresponding metalworking processes were born.

Drinking utensils are the ones that best reflect the achievements of the Yuan Dynasty silverware. At that time, there were wine dispensers, large silver wine dispensers, and you could take anything you wanted to drink from the inside, for example, one of them could receive wine, and the other could receive other wine.

The inlay process combines the advantages of various ethnic minorities, including Mongolian, Han, Miao, Tibetan and some characteristics of Persia. This is because the Yuan Dynasty had a vast area and few restrictions on cultural development, and cultural diversification enabled the craft to integrate the characteristics of many regions, and also carried out a lot of innovation, forming some of its own unique styles.

After the stimulation of the cultural integration of the Yuan Dynasty, the Mongolian mosaic gradually formed a mature process. The difference between it and other genres is mainly reflected in the ornamentation and artistic expression: the pattern of the object made by the mask inlay is relatively full, that is, the whole object is decorated, basically there is no white place, and the ornament has many layers (it uses relief, engraving, flat hook, openwork and other forms in the production), which is more gorgeous. The gemstone is set with a bezel setting, which is to wrap the gemstone with a silver edge and let it be fixed to the silverware.

Why do we name it "Zhonghetai", because the three people together are as stable as Mount Tai, and no one can do without them, and they are the strongest together. I hope that this strong thing of ours can be passed down from generation to generation and made into a time-honored brand.

Traditional handicrafts can be divided into two kinds, one is the material things of life, the other is the needs of culture and spirit, the material aspects of life are easy to be surpassed by modern technology and technology, but the artwork is related to the spirit, these are not replaced by the material, and the spiritual things can not be given by the machine. 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.

Mongolian women's headdresses are a highly artistic combination of precious materials. It requires complex craftsmanship, not only complicated carving techniques, but also gem-setting and gold, silver, and copper wire weaving skills. Through the hammering, engraving, weaving, and inlay gems of metal, the artist has formed a set of comprehensive treatment techniques, commonly known as the art of masked.

During the Qing Dynasty, Beijing and other places were very popular in the art of mosaic, craftsmen and shops in front of the shop and the shop behind the shop were many, the princes and nobles came and went to Beijing, the spread of this skill is a lot, after archaeological research, Donghu, Xiongnu have a complete headdress and gem inlay skills, after a long period of development, the art of masking has been continuously enriched and developed, the flower of this ancient art is increasingly colorful and colorful.

The custom of the northern peoples to decorate themselves with natural objects was formed very early, and neck necklaces were found in the Hongshan culture of the Neolithic Age. More than 2,000 years ago, the tombs of Donghu and Xiongnu have unearthed headdresses, and the headdresses of the Xiongnu are very similar to the current Ordos headdresses after restoration.

Mongolian jewelry is very rich, including hair ornaments, neck ornaments, ear ornaments, hands, face ornaments, crown ornaments, ornaments and ornaments. Mongolian women use hairpins, which are mostly inserted directly into the bun. Many hairpins are carved with animal heads, bird heads, flowers, moire decorations, and the shape is unique. Some hairpins are also inlaid with turquoise and so on.

Judging from the unearthed cultural relics, the hairpins of the nobles of the Yuan Dynasty are a large number of precious materials such as silver, and the Mongolian folk also have a lot of gold and silver hairpins, and the hairpin head is also carved with patterns, and the flowers are mostly plum blossom-shaped, lotus-shaped, and characterized by finesse.

The masking technique is a special process developed on the basis of traditional Chinese metal crafts. It uses gold, silver, copper, iron, tin, jade, ivory, bamboo, bone, wood, horn and other raw materials, absorbs the modeling design and decorative style of Mongolian, Tibetan, Miao, Manchurian and other ethnic minority metal handicrafts, and is rich in traditional characteristics of handicrafts made with exquisite skills, which is customarily called Mongolian inlay, referred to as Mongolian inlay. The traditional art of mask-setting has been applied to the processing of jewelry, gold and silver utensils and metal crafts for more than 2,000 years.

Its process is to metal chisel carving (also known as chisel flower, chisel carving), and metal welder as the main process, it is according to the design requirements of the pattern, the use of chisel knife, chisel plate will be made of metal materials into relief, round carving, openwork finished products, at the same time through the welding process will be the parts to form a whole, and to be inlaid, the inlaid gems mainly include turquoise, agate, coral and malachite, etc., and the inlay process is mainly based on bezel setting.

The gemstones set in this way are not easily damaged and lost, making them ideal for everyday use. The process of making the matte is very delicate. First, use hammers and other tools to process into a variety of shapes of utensils, and then use dozens of chisels to chisel out a variety of uneven patterns, and then inlaid with a variety of jewelry and jade, noble and elegant, dazzling.

The development of religious art, the gradual improvement of metalworking technology, and the maturity of Persian metal manufacturing technology and inland metal making technology have laid the foundation for the completion of the mask-setting process.

At the same time, all kinds of utensils required by religion and daily metal items needed by the people, as well as the customs of the grassland peoples, local engraving of patterns, line point decoration, strong three-dimensional sense of products, rough engraving techniques, powerful, simple, promote the formation of a strong and simple, generous and concise style of masked products.

The Mongolian inlay craft is mainly concentrated in the northwest, northeast, and North China, and there is a small amount of distribution in the southwest, and the current relatively intact is mainly concentrated in Inner Mongolia, Xinjiang, Tibet, Gansu, and its local ethnic groups use gold, silver, copper, tin, jade, ivory, bone, horn and other raw materials to manufacture handicrafts with traditional characteristics with exquisite skills, and some of the skills of the craft have also penetrated into other metal processing processes.

The masking process consists of the following process steps:

Design the shape of the product according to the requirements.

Casting mold and library work: according to the process requirements to make the carcass of the product, first use the library mold method, the tin block is cast on the yin and yang mold, and then the metal processing piece is added between the yin and yang molds, and the concave and convex approximation is knocked out with a sledgehammer, and the metal sheet library is pressed into the main shape, and then welded and formed according to the requirements of the design.

Engraving: With incense, vegetable oil, kaolin (commonly known as white clay seeds), boiled into a sol according to a certain proportion, canned into a metal body, and then pasted with metal sheets, and after the sol is condensed, then carefully engraved on the metal surface. Depending on the application, different shapes of chisel knives are used.

According to the requirements of the pattern design, the use of various techniques of engraving, engraving forming. The metal piece is then heated and softened, and the sol is poured out. After annealing, the layers of fine chisel are applied until the pattern is three-dimensional and clear.

Welding: The parts engraved with patterns are welded into a device.

Grinding and polishing: The workpiece of the finished device is cleaned and descaled in dilute nitric acid, then rinsed in alum water, and then polished and polished.

Setting: The gems used for matzel setting are generally very bright in color, and most of them use the bezel setting process, so that the gems set are generally not easy to fall off, and most of the gems set are plain gemstones.

The Mask Setting: From the Prairie to the Prince's Precipitation

The Mongolian inlay technique was born in Mongolian culture, and it is the embodiment of a steppe culture. The mosaic craft itself is an old craft, which has been transmitted to different regions to form different schools, and the Mongolian mosaic craft is a craft school that it has nourished in the grassland culture.

The Mongolian people have a tradition of using gold and silverware, and gold and silver are indispensable on saddles, Mongolian knives, and Mongolian clothing. Especially silverware, which is considered white and sacred by the Mongolian people. And because silver can detoxify, it is said that silver has a high status in the hearts of the Mongolian people.

In the process of using silverware, some corresponding metalworking processes were born. For example, Shan Yu's crown, which was cast out of metal. After casting the shape of the main body, it is decorated, first engraved to express its shape more clearly, and then gilded.

There is also an eagle at the top of the crown. How does an eagle do it? First, use turquoise stone to grind out the eagle's beak and eagle's head, then grind a neck, hit two eyes, and connect them with gold and silver wires. The wings and tail are also represented in metal, combining them to form a complete eagle shape. This is the earliest rough processing method, and the mature masking technology benefits from the cultural integration of the Yuan Dynasty.

The current Mongolian inlay process integrates the advantages of various ethnic minorities, Mongolian, Han, Miao, Tibetan, and also includes some characteristics of Persia. This is because the Yuan Dynasty had a vast area and few restrictions on cultural development, and cultural diversity enabled the craft to integrate the characteristics of many regions, and also carried out a lot of innovation, forming some unique styles of its own.

In the Yuan Dynasty, the use of silverware was very extensive, and there were a large number of words and phrases in the Yuan song to describe the daily silverware items at that time, such as "the silver table lamp extinguished the smoke and smoked, and the Luo curtain drowned the tears alone", "Luo curtain painted candles, color fans and silver hooks" all reflected the universality of the use of silverware in the Yuan Dynasty. The processing of silverware also reached the level of imperial technology, and at that time the Imperial Manufacture Office specialized in the manufacture of silverware was created.

They saw the Yuan Dynasty paintings they kept in foreign museums, which depicted scenes of court life at that time, and the people with feathers on their heads were Mongolian nobles, and these nobles drank wine with silver goblets, which was very interesting.

Drinking utensils are the ones that best reflect the achievements of the Yuan Dynasty silverware. At that time, there were wine dispensers, large silver wine dispensers, and you could take anything you wanted to drink from inside, for example, one of the mouths could receive wine, and the other mouth could receive other wines.

There is a particularly famous Yuan Dynasty wine dispenser, which is in the shape of a silver tree, more than two meters high, and is placed in the palace of Genghis Khan. And there was an angel inlaid on the silver tree, and he took a small trumpet, and there were four great serpents around the tree. The snake's belly bends down and rises up again, in an "S" shape, with the snake's head facing down, the snake's mouth is open, and there are four large vats under the snake's mouth. The decanter holds a small flag, and when he waves it in any direction, the snake's head in which direction begins to spray wine.

After the stimulation of the cultural integration of the Yuan Dynasty, the Mongolian mosaic gradually formed a mature process. The difference between it and other genres is mainly reflected in the ornamentation and artistic expression, the object pattern made by the mask inlay is relatively full, such as this box made by the mask inlay process, which is called "full work", that is, the whole box is decorated, basically there is no white place. And there are many layers of ornamentation, because it uses a lot of expressions in the production, such as relief, engraving, flat hook, openwork and other forms, to show its gorgeousness.

It also has a peculiarity of setting gemstones, which is to use the bezel setting technique, which is to wrap the gemstone with silver edges and let it be fixed on the silverware. And because the gemstone is precious, we also have to make two holes in the silver or gold negative when bezel setting, and tie it up, which is equivalent to adding an insurance to prevent the gem from being lost. This is the art of masking and setting.

He was born in 1979 and is the eldest of the three masked panelists, all of whom are from Hoh. The biggest reason why we can do this together is that we like this line of work and have been together all the time. They graduated from the art major of No. 37 Middle School together, and as soon as they graduated, they were assigned to the foreign trade craft factory in Inner Mongolia.

When I entered the factory in 1994, it was the first time I really came into contact with the quilt inlay process, but in the foreign trade factory, I made fast-moving mont inlay handicrafts, which are some hot-selling products in the arts and crafts industry.

Those are all crafts, and there is a big difference between crafts and art. The handicraft is just to make that type, and the artwork has a great deal of attention to the details of the production steps and the structure, which is carved. They really realized this in 2004 after they left the factory to start their own workshop and get their hands on some old objects.

At that time, the benefits from the unit were not bad, and one person was given a house, but there was not much money in hand, and there was a little bit of piecing together, but it was still not enough. At that time, they also became families, had children, and vaccinated their wives and children before they came out to work, telling them that life after that might be difficult. I insisted on it for a year, and I didn't take a penny from my family, and I had to spend my wife's every day.

At that time, they had a small yard, and there was no sign at first, and the customers were all neighbors. They were really grateful to these neighbors for bringing us a lot of old objects to admire and study. After looking at the old objects, they really improved a lot and understood the difference between crafts and artworks.

Within their team, he is responsible for sketch design, Liu Tiejun is responsible for production technology, and Li Zhongqiang is responsible for external business. Everyone's work overlaps when it comes to execution. In addition to these businesses, they also have to do some of their own creations, which is generally more difficult. 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.

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