The most common setting method is the edging setting, also known as the bezel setting. The production of stone bowls, the jargon called "circle stone bowls" is the highlight. The copper sheet must first be pressed to the appropriate thickness, and this degree is all mastered by the masters with experience.

Cut the pressed copper sheet into strips and use it to form the edge of the bowl. The shape of each stone is different, so the shape of the corresponding stone bowl is also different. The rim and bottom of the bowl are welded together and then welded to the work.

Stone insertion is not very difficult. Put the stone into the stone bowl, and then press the edge of the stone bowl firmly to the middle to fix the stone. The jargon is called "buckle edge". At this time, I can see the importance of the stone bowl, the big one can't get in, and the small one can't be firmly embedded.

A stone bowl made by an experienced worker will wrap the stone just right. Edging is usually used for ordinary stones, such as diamonds, rubies and other small and precious stones will lose their original charm if they are put into a stone bowl, so the traditional shovel nails are needed.

Shovel nails are embedded directly in the work, so you need to drill holes. The first thing to do is to choose a drill bit according to the size of the gemstone. However, after all, there is no drill bit that is exactly the same size as the stone.

Therefore, after the hole is drilled, the final repair is carried out with a milling cutter. The filigree is bone, inlaid as decoration. The filigree and inlay complement each other, and together they interpret the subtlety of the "Eight Uniques of Yanjing".

The basis of filigree inlay is filigree. Before the filament is drawn, the silver bar is pressed repeatedly on the rolling mill until it becomes a square bar of the right thickness, and then the formal drawing can begin. Hand drawing is a centuries-old tradition known as wire drawing.

The drawing plate is a special drawing tool, on which forty or fifty eye holes of different diameters are arranged from thick to thin. The eyeholes are generally made of alloy and diamonds, and the smallest ones are thinner than a human hair. In the process of thinning the thick wire, there must be a large to small sequential passage through each eye hole, and it cannot be skipped.

Sometimes it takes more than a dozen draws to get the desired filament. At first, the surface of the drawn silver wire is rough and requires a lot of effort, and it gradually becomes smooth after several draws.

Drawing is the preparatory work for filigree inlay. Different types of filigree are drawn by the master from the drawing plate one by one. The eyeholes of the brushed plate are usually made of alloy and diamond, and the smallest eyehole is thinner than a human hair, with the largest diameter of 4 mm and the smallest diameter of only 0.2 mm.

A single wire drawn from the drawing plate is called "plain silk" in the industry, and two or more strands of silk need to be kneaded into various patterned silk before it can be used, which is the origin of the name "filigree".

The most common filaments are made of two or three plain threads, which is the simplest and most basic style. There are nearly 20 kinds of more complex filigree, such as arch wire, slub silk, screw, yard silk, wheat ear silk, phoenix eye silk, twist silk, and small braid silk.

Filigree technology is pure handmade, that is, the process of pinching the filigree into various patterns with tweezers or pliers, and sticking and welding on the utensils, the filigree inlay process is the basic skill in the filigree inlay process and the most difficult technology to master.

Silk filling is also called flat filling, commonly known as filling filament, is to make the filigree pattern flat in the prescribed pattern, silk filling is the most monotonous filigree process is also the most time-consuming process in the filigree inlay handicraft.

Welding is the process of putting together the patterns made by welding them together to form a complete piece of jewelry.

The stacking is to use the method of stacking charcoal ash to wind the code wire on the charcoal ash shape, and then build out various shapes, and use a small sieve to sieve the powder evenly, welded the process.

Weaving is the same as straw weaving and bamboo weaving, but gold and silver weaving is more difficult, which requires experienced artists to weave well.

Filigree inlay can be divided into two categories, i.e., filigree inlay and inlay. Filigree is made of a variety of different patterns with silver wire on the square inch ornament, and the filigree process crystal is made of different types of gold, silver or copper wire, after processing.

The inlay is to inlay the jewelry, diamonds, fine stones and jade on the gold and silver jewelry, and then combine the gold and silver, crystal, white jade and colored glass together, and inlay them on the hooks, pots, bottles, lamps, axles and other utensils.

The inlay requires a good setting, flat setting, and inlay, and the same gemstone and jadeite are placed at different angles, which will directly affect the appearance of beauty or not, which can lead to a disparity in price. In the early years, it was mostly "embraced".

The jewelry bottom tire adopts the "open gold" formula, which is hard and made into a claw to hold the stone surface. In the future, when the diamond is prosperous and the setting is not competent, it will be changed to use white gold (platinum) chisel and squeeze setting, which is called "extruded setting". In the Ming Dynasty, the gold crowns, phoenix crowns and various jewelry made by the silver bureau reached a very high artistic level.

As early as the Shang Dynasty, there were metal jewelry, such as the gold flute, gold ear bell, and gold arm of the Liujiahe merchant tomb in Pinggu, Beijing in 1997. During the Spring and Autumn Period and the Warring States Period, the gold and silver mistake craft was gradually applied to jewelry, mainly on belt hooks.

In the court, the filigree inlay technique was prevalent for some ornaments and ceremonial vessels. The tomb of Liu Chang, King Mu of Zhongshan in the Eastern Han Dynasty in Dingzhou, Hebei Province unearthed two pieces of tired gold wire to ward off evil spirits, raise your head to the sky, the posture is majestic, the body is made of gold sheets, the gold silk cloth is made of wings and markings, the body is decorated with turquoise and ruby, the horn and tail are wound with thick and thin gold wire, the production is exquisite, the image is vivid, and there are filigree gold sheep, filigree golden dragon and so on.

Gold and silver fine work to the Six Dynasties era has a great development, the Western Jin Dynasty prevailed filigree jewelry, "golden lion", "golden hairpin", "gold leaf" (unearthed in Luoyang Golden Village), with gold and silver filament coiled into a variety of patterns, delicate and exquisite, marking the achievement of the filigree craft of the Western Jin Dynasty.

Since the Tang and Song dynasties, filigree techniques have been more widely used in women's hair bun styles and jewelry. The outer layer of a gold flower ornament unearthed in Xi'an is composed of 8 small flowers in the shape of a diamond, a small bird stands in a group of flowers protruding in the middle, the flowers are wound with very fine gold wires, inlaid with small pieces of jade, small and exquisite, it is an excellent work of filigree jewelry in the Tang Dynasty.

A batch of gold and silver artifacts unearthed from the tomb of the Northern Song Dynasty in Mushan, Nanjing, one of which is a chicken heart-shaped gold ornament made by hollowing, engraving, filigree and other techniques, fully demonstrates the superb skills of Song Dynasty craftsmanship.

In 1988, in the Yuan Dynasty gold ornaments unearthed in Qusi Village, Lingqiu County, Datong City, Shanxi Province, the production of several gold ornaments such as double flying butterfly hairpins, tangled arabesque earrings, and gold flower step shakes have made full use of the traditional fine filigree craft in pinching, saving, filling, welding, stacking, base, weaving, weaving and other techniques, skilled and exquisite, and it can be seen that the filigree craft has been quite mature so far.

In the Ming Dynasty, the gold crowns, phoenix crowns and various jewelry made by the Beijing Silver Bureau reached a very high artistic level. In the Ming Dynasty, gold and silver jewelry were used to make ornaments and household utensils, the number was amazing, the craftsmanship was superb, and the production was finely made, integrating traditional filigree, carving, engraving, and inlay techniques.

There are many kinds of luxury and exquisite, such as gold silk woven into a golden crown, a phoenix crown, and there are hundreds of inlaid jade and gold flowers unearthed in Dingling alone. Jiangxi Nancheng unearthed "Yizhuang King Golden Silk Crown", "Golden Silk Pavilion Flower Headdress". The jewelry themes of the Ming Dynasty mainly inherited the secularized style of the Song and Yuan dynasties, with dragons and phoenixes, flowers and birds, insects, religion and other main themes.

The difference is that all the shapes are composed of gemstones as the main body, and they are made by filigree inlaid gemstones.

The Ming Dynasty artists used extremely fine gold wire to weave the Wanli Emperor's golden silk winged crown, 24 centimeters high, the crown body is as thin as light yarn, the gap is even, the upper end of the golden crown has a dragon play bead pattern, the shape is exquisite, it can be called a generation of masterpieces.

The Golden Wing Crown is composed of three parts: the front house, the back mountain and the wings, which are woven with 518, 334 and more than 70 gold wires with a diameter of 0.2mm. The gold crown is light and transparent as a whole, the gold wire weaving is uniform and decent, there is no obvious knot, the two golden dragons are made of gold filigree, attached to the back mountain, vivid and mighty, the welding place is all firm and drugged, reflecting the advanced welding technology of the maker at that time. A replica of it is now on display in the exhibition room of Dingling, Beijing.

The phoenix crown of the two queens of filial piety and filial piety unearthed from the Ming Ding Mausoleum is not only a rare treasure of filigree inlay, but also a large piece of filigree inlay. The golden hairpin worn by the two concubines has a wide range of themes on the top of the hairpin, including flowers, butterflies, birds, dragons and phoenixes, geometric patterns, auspicious patterns, and words.

A total of more than 500 pieces of jewelry and gold and silver products have been unearthed in Dingling, with hairpins, crowns, belt ornaments, buckle ornaments, various utensils, etc. The production process is roughly as follows: filigree process [using gold wire to form patterns and welding on ornaments], chisel flower process (using chisel thread to carve patterns on the device), inlay and "tire making" (using special tools to make gold and silver sheets into various shapes) and other processes.

These artifacts are rarely made with a single process, and often use two or more processes, one of which is either used as a foil or as an embellishment, in order to achieve a more perfect artistic effect. Methodologically speaking, these jewellery are rarely made using a single process, often using two or more processes, one of which is a foil or foil.

In 1772, in the tomb of Ming Yi Zhuhu Bing and his wife in the southwest city of Jiangxi, a pair of golden phoenix hairpins made by the silver bureau of the Ming Dynasty were excavated, the phoenix was 10.5 cm high, the hairpin feet were 12.5 cm high, and weighed 2 taels and 2 coins. The golden phoenix hairpin is wrapped with money and gold pieces of different thicknesses.

A cloud that the golden phoenix's toes grasped vigorously was also woven with gold threads of varying thicknesses. The hairpin foot stretched out from the clouds, the shape is vivid, the technique is slender and beautiful, showing the level of gold and silver craftsmanship in the early Ming Dynasty.

During the Kangxi period, the palace Yangxin Palace set up a manufacturing office, which was owned by the Qing Palace's Internal Affairs Office, and was a specialized institution responsible for manufacturing royal supplies. The "manufacturing office" belongs to the "silver work". Ten types of work, such as silver, alchemy, silk, and chisel flowers, are divided into hundreds of people, specializing in gold and silver jewelry, utensils, etc.

The outstanding varieties include the golden chime, which is engraved with embossed cloud dragon patterns and the names of "Yellow Bell" and "Lipin"; The seventh-level golden pagoda is made of gold wires and inlaid with red, blue and green gemstones, engraved with fine patterns, which is more gorgeous than splendor. There are also gold crowns, etc., which are made of gold and stranded jewelry.

The office serving the imperial family gathered the most skilled craftsmen from all over the country, and the metal treasures brought up by the local government paid tribute, and the filigree inlay, which inherited the excellent skills of the Ming Dynasty, was further prosperous.

The ruling class of the Qing Dynasty revered Tibetan Buddhism, and the theme of the utensils was wider than that of the Ming Dynasty, and the religious color was also obviously strong.

During the Qing Dynasty, the division of labor in the gold wire inlay industry was more detailed, and it gradually moved towards specialized production. The whole industry is divided into 11 specialties, such as practice, inlay, chiseling, accumulation, burning blue, dotting cui, gold-filling, plating, wire drawing, and beading.

Among them, the real setting and accumulation are the main parts of the industry, with independent products and complete production processes, and the rest of the industries are processing types, but the cooperation relationship is very close. The gold and silver craftsmanship and style in the court of the Qing Dynasty were different from those of the Ming Dynasty, which were more profound, and were mainly chiseled and inlayed.

For example, the "Golden Branches and Jade Leaves" bonsai displayed in the Jewelry Museum of the Forbidden City, the large hanging screen of "Dotted Kingfish" and the silver burnt blue "Crane and Deer Tongchun", etc., the art form is innovative, and the craft production combines the technical techniques such as real chisel, refining, inlay, dotting cui, and burning blue. The gold and silver craft and the jade carving craft are also combined with each other and can be used freely. So far, China's gold and silver craftsmanship has developed to a very high level.

After the Opium War in 1840, a large amount of gold and silver flowed out, especially the invasion of China by the Eight-Nation Alliance, and many precious craft crystals were plundered out of the country. As a result, gold and silver craftsmanship came to a standstill, especially when the Japanese army invaded China, leaving the filigree inlay industry in a precarious situation.

After the Xinhai Revolution, court art flowed to the people. There are many folk gold and silver shops, and the shop crafts at that time can be divided into the following crafts: filigree, solid inlay, chisel flower, burning blue, dotting cui, making tires and other crafts.

At that time, the development of jewelry was very fast, and there were some top figures in the industry, such as Zhang Juwu, known as the "filigree king", the artist Yu Hai, Zhao Ziyuan, Wang Zihou, etc., all with unique skills.

Due to the warlord scuffle, Japanese invasion, Chinese civil war, etc., it led to social unrest, market depression, and displacement of people. Filigree jewelry artists are unemployed, changed careers, and struggled with poverty. The famous "filigree king" Zhang Juwu starved to death on the way back to his hometown, and the filigree jewelry fell into a desperate situation.

The filigree inlay industry in 1956 to achieve cooperation, the old Beijing filigree inlay artists in Tongzhou, the Beijing Municipal People's Government scattered in the folk with unique skills of the "fine gold artists" reorganized, has established the "Beijing filigree production cooperative", "Beijing inlay production cooperative" and other craft enterprises.

In 1958, the two societies were reorganized and merged, and the largest jewelry factory in Asia, "Beijing Filigree Inlay Factory", was formally established on the site of Tongzhou Confucius Temple, which became the main production base for filigree inlay handicrafts in China, specializing in the production of traditional filigree handicrafts and undertaking the task of exporting jewelry in Beijing.

In 1960, the Beijing Arts and Crafts Factory was established (with a filigree workshop). In 1971, Beijing Jewelry Factory was established. In the 50s of the last century, the crown and phoenix crown unearthed by the state were approved by the state, and the production was presided over by Bo Shiyou, the research office of the Beijing filigree inlay factory, and the craftsmanship and simulation degree were praised by cultural relics and archaeological experts, and the imitation works are now stored in the National Museum.

In 1985, Beijing Jewelry Factory made the silver filigree inlaid "Jinluan Palace" arts and crafts based on the emperor's throne, pedestal, and screen in the Taihe Hall of the Forbidden City in Beijing.

The types of products can be divided into three categories, the first category is jewelry, including bracelets, necklaces, earrings, brooches, pendants, cufflinks, tie cards, collar flowers, etc.; The second category is the display category, mainly interior decoration items, such as small hanging screens, vases, stoves, smoke, buildings, various animal shapes, etc.; The third category is the practical category, which is dominated by small and medium-sized products, such as flat mirrors, cigarette boxes, ashtrays, powder boxes, sugar cans, pill boxes, lamp stands, wine utensils, cover bowls, toothpick boxes, knives, etc.

Outstanding figures who appeared after liberation, such as Zhang Guanghe, Wang Jinao, Bi Shangbin are filigree experts, now keep the "Tiananmen", "Nine Dragon Wall", "Yangtze River Bridge", "Forbidden City Corner Tower", "Grasshopper Basket", "Filigree Monument", "Dragon and Phoenix Insert" are very eye-catching, these exquisite handicrafts are brilliant, ingenious workmanship, give people a sense of not getting rich, this kind of handicraft crystal Chinese is called "filigree inlay", foreigners call "cloisonné enamel". In the White Peacock Art World exhibition room, these works are treasured.

In 1956, when the Beijing Conference on Defending World Peace was held, Zhang Guanghe and Bi Shangbin elaborately made filigree monuments for the conference, and asked Guo Moruo to write an inscription: "Defend the lasting peace of the world". Then they made a Ginza dragon palace lamp, a square transparent silver filigree, a dragon mouth Diao palace lamp, a dragon pan flagpole column, exquisite, elegant, beautiful, generous, this work was well received when it was exhibited in the UK.

Among them, "phoenix bell" is a filigree inlay product with the theme of our country's traditional auspicious pattern, in the design, with a golden bell on behalf of the sun, with precious lapis lazuli made into a swirling auspicious cloud to support the sun, a golden phoenix volleys crying in the air, the image is colorful, vivid and expressive, in the production of the use of filigree and inlay combined technology, with fine as hair gold, platinum to weave out the whole body of the phoenix, the crested head is inlaid with 18 pieces of red, emerald and 88 diamonds, the feather is inlaid with 110 diamonds, the phoenix tail is inlaid with 9 pieces of red and emerald, The work is shining with gold and gemstones, skillfully combining art appreciation with practical life, and is a beautiful craft.

In September 1985, the treasure "Descendants of the Dragon" exhibited at the Beijing Arts and Crafts Exhibition conquered the audience with its unique artistic charm. A giant dragon and five children on the dragon's body, all made of 22-karat gold, are inlaid with more than 1,600 gemstones of various colors, each of which is firmly held together in a small gold bowl.

The fireballs spat out by the wyvern were inlaid with rubies. According to designer Bai Jingyi, more than 200 gems were used for this fireball. The ribbon draped on the child's body is made of filigree technology, under the dragon is the colorful auspicious clouds, and the gold ribbon flutters with the wind, which is realistic.

"The Descendants of the Dragon" is based on amethyst rough stone, which is integrated with the whole work, showing the upward style of the Chinese nation and the descendants of the contemporary Yan and Huang. The composition is vivid and vivid, and it can be called a masterpiece. 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.