Chinese ancient glass is basically hand-made, and it has been affected by a strict hierarchy during the Yuan Dynasty. After Yuan Dingdu was established in Beijing, many glass workshops were established in the Liulichang area outside Heping Gate, which was mainly used for the construction of the palace. During the Qing Emperor Kangxi years, the emperor ordered the Ministry of Industry to set up a royal factory at the Liulichang, and sent officials to monitor the feeders and glass products. It is said that in the early years of Emperor Qianlong's reign, the director of Yuchang’s Hu Xing was known as a good material producer. He used fine white material to make tires, blown into vases, smoke pots, and bowls. The tires were very thin, and the outer paintings were glazed. These were exquisite workmanship. The exquisite paintings of the paintings are later known as the official kiln "Guyuexuan" and are rare treasures. After the homogeneity of the glass was displaced, it was not auspicious, so it was renamed "house material" or "Oirai glass." After the founding of New China, ordinary people thought that the term "property" meant that it was dedicated to the imperial palace and that it was not in keeping with the spirit of the times.
Therefore, the vessel is a true traditional ancient glass, and it is also one of the representative arts of the ancient court. So, what kind of artistic charm does Beijing material implement have? What is the state of existence today?
1/ The production of carved plastics in the fire required improvisation in the flame of the torch. How the level of work depends on the producer’s experience and craftsmanship is also called sculpture in the fire.
The material of the feeder is a large amount of silicates and other metal oxides found in the natural world. They are melted at a high temperature and pulled into a variety of material sticks. The material sticks are then burned on the lamps and processed into materials by hand. Device.
The shape of the feeder product is mainly in the lamp industry. Artists use various coloring sticks to roast on the lights and quickly mold them when they are softened. They use simple gadgets to pull, sometimes sticky, sometimes with scissors hinges, and sometimes with rakes to create works of different shapes. Compared with glazed glass, the feeder does not have a bottom tire and is an impromptu work performed by artists in a single fire. Therefore, it is more difficult. Moreover, the material has a relatively low melting point, a large specific gravity, a large number of colors, and a variety of colors. There are transparent beasts, hanging screens, smoking accessories, bonsai, flowers, birds and fish, as well as rings, cap flowers, and beads. Feeder birds and beasts use traditional techniques to imitate jade, jade, agate, coral, etc. The colors are vivid, with a unique style and charm.
In the earliest period, when feeder artists operated, edible vegetable oil lamps and wicking grass oil lamps were used. In order to make the lights prosperous and change to horizontal combustion, they must have a fine glass tube in their mouths, blow air from the sides to the flames, and warm the barbecue sticks, so the material artist has got a “blowing jobâ€. Commonly known. By the end of the 18th century in the 18th century, the use of gas cylinders was used instead. The production environment was very harsh and was a waste of vegetable oil. In 1965, Beijing Feeder Factory switched to gas torches for production. This method has continued to this day.
One of the characteristics of the feeders is that in addition to the styling techniques, a key technology lies in the ingredients, that is, the recipe for making the sticks. In general, the feeders are silicates and other metal oxides like glass and glass, but for different works, the added metal oxides are different, and sometimes even some precious metals such as gold and silver are added.
The old entertainer Chen Dehai had used material feeder materials to imitate artifacts such as “Tang Sancai†and “Bronze ware.†His vivid shapes and quaint realistic texture left a deep impression on people. The premise for producing this kind of works is its Material preparation. Nowadays, it is very difficult to see the type of foreign material feeders in Gu Yuexuan. It is because people who are engaged in the production of materials do not have control over their formulas and processing techniques. This has not been done yet. Gradually forgotten.
According to Liu Yu and Liu Xing, the seventh generation descendants of the material, the creation of the material utensils is a very difficult art. From learning material feeders to teaching for at least four or five years, it is not like clay, plastic and jade. It can be done slowly and carefully. As glass raw materials, the material can not be burned too long in the fire, otherwise it is not fried, it is burned and deformed, and as long as the utensil is formed, it is difficult to modify. It's not easy to find the material in the fire. It's even harder to create good works.
The hand-made craftsmanship makes the work of the material unique, and the difficult production process also enhances the rareness of this handicraft. The master of the material master is through the delicate and skilled craftsmanship, and the ingenuity of the creator, to reflect the Chinese cultural charm through the luster, colorfulness, tenderness and mystery of the glass material.
2/ The Orient Glass Art The concept of modern glass art is a western perspective, such as emphasizing the aesthetic methods of famous glass production bases in Europe such as Venice since the 15th century. The glassware is known for its pure texture and comparable to natural crystals. Therefore, these glass arts are also called artificial crystal arts. This type of glass, the most representative brand in China is Swarovski, they can burn the glass is very pure, and then make a variety of cuts to form a variety of beautifully shaped jewelry.
The biggest difference between western glass and oriental glass is the difference in composition. Western glass is generally doped with a large amount of sodium and calcium. The feeling of sodium-calcium glass is particularly pure, bright, and very clear. These glass works are also particularly bright and have high purity.
In the past few years, glass craftwork represented by Taiwan was formed by the addition of high-grade art glass to Chinese glass elements. Its production process is mainly cast by the lost wax casting method. However, strictly speaking, Taiwan's glass is not a traditional Chinese glass, but a pure glass art.
As a pure glass art, the glass used has a high melting temperature of 1700 degrees Celsius and an operating temperature of 1300 to 1400 degrees Celsius. To form this temperature, a furnace is generally used. The use of furnaces allows the glass art to make very large shapes. The bright colors of Taiwan's glass are formed by the incorporation of metal ions.
On the other hand, traditional Chinese glass has been used for many times like porcelain, pottery and jade. It is like Tang Sancai, the glazed tile of the Forbidden City, the Nine-Dragon Wall in the North Sea, the hat on the head of the ancients, and the decoration on the sword. Because of the traditional Chinese glass, its essence is a glaze formed of silicate, gardenia, lead oxide, etc., ie, low-temperature lead glaze, with low melting temperature and rich colors. These characteristics are reflected in the Beijing feeders.
3/ Brilliant and Adhering to Beijing Feeder is now a state-level intangible cultural heritage protection project, demonstrating its inheritance relationship on the basis of traditional Chinese glaze technology. As for the history of the development of Beijing's feeder technology, there are many problems that need further study. For example, the Beijing Container has developed over the past three generations of the Yuan, Ming and Qing dynasties and has a history of more than 600 years. However, the material ancestors approved by the ancestors are the ones who fell in the black during the 20th year of Qing Daoguang (1840).
It is said that Zhang Hao inadvertently found half a broken glass bracelet because he was curious to play in his hand. Later, he discovered that the glass could melt and soften in the fire, and he made a few beads with this half bracelet. These beads, like jade, are quite beautiful, so they took the jewelry market to try their luck and did not expect it to be popular in the market. Afterwards, he set up a material workshop and began to produce such handicrafts. This show was also honored as the first generation of paternal masters of Beijing's feeders.
During the first generation of the founder, a certain amount of material workshops had been formed. By the fourth and fifth generations, it was the most brilliant stage of Beijing's feeders. In 1930, the Beijing folk artist Zhao Jiuzheng opened a “Siyi Gong†chemical material workshop in the flower market, which ended the history that Beijing's material feeders must “expand†and “foreign materialsâ€. In the same year, Beijing material feeder artist Jiang Wenliang (Jiang II) opened the "Ziyuan No.1" feeder workshop in the flower market. Wang Fu opened the "Changfeng No.1" feeder workshop and collected apprentices. After several decades of development and competition, the four major schools of Chiang, Wang, Zhao and Yue gradually formed in the flower market. Jiang Jiamen, represented by Jiang Wenliang and Jiang Wenkui, is known for his workmanship and liveliness, and he is particularly skilled in making materials. Wang Jiameng, the founder of Wangjiamen, is most famous for his birds and beasts. The head of Zhaojiamen is Zhao Jiujun. His specialty is the petal of the production stone. Yueziyuan of the rising star Yue Jiamen is an expert in production and sales. Among the four major schools, the most apprentice is Jiang Jiamen.
In the material industry, Chen Dehai, the only artist who was awarded the title of “Master of Arts and Craftsâ€, began to learn with his brother-in-law, Jia Yanan, the old artist Gao Yanshan when he was 12 years old. At the age of 20, he worked as a material worker and was in Beijing. In the first line of artistic talents, the feeders produced and sold more than ten types of feeders in the Dong’an market. After the founding of New China, a public-private partnership was implemented. The Beijing material feeder artists were brought together and the Beijing Feeder Factory was established. Premier Zhou Enlai personally approached the issues of fuel, scale, and craftsmanship. After the Beijing Feeder Factory was established, Chen Dehai also entered the factory. Under the care of the country, the descendants of the fifth generation of materials have also made a lot of quality. However, all the feeders at the time were still exported. The Beijing Feeder Factory used to be a big foreign exchange earner in Beijing, and it can exchange large amounts of money every year for the country. Heads of many countries visited Beijing and were full of praise for the material art.
After the reform and opening up, arts and crafts are no longer the country's irresponsible reliance, and for the domestic market, related consumption has not kept pace with it. Therefore, the fifth generation of material arts and crafts have chosen to divert, some exquisite material craftsmanship It is also stranded. Today, the only remaining master of Beijing's material feeders is the sixth generation descendant Xing Lanxiang.
Xing Lanxiang graduated from the Beijing Institute of Arts and Crafts, and engaged in the material industry for 48 years. He was named Beijing Folk Arts and Crafts Master. He is currently the only Chinese material artist to receive the title of Master, and is also the only remaining master in this generation.
Master Xing Lanxiang's ability to preserve this skill is also related to accidental chances. That is, after Xing Xingxiang retired, the owner of a company in the United States looked at the equipment and hired her as the company's artistic director. In 2003, out of the protection of traditional handicrafts, the Beijing Municipal Government set up a hundred workshops to provide centralized protection for various traditional arts and crafts in Beijing. In the search for feeders, only Xing Xingxiang was found. Today, after Master Xing, her sons Liu Xing and Liu Yu became the new relays and became the seventh generation descendants of Beijing Feeders. Without the hard work of these three people, Beijing's feeders may withdraw from this stage of history.
In fact, Beijing's feeders are not without markets. As they float across the sea and participate in foreign exhibitions, visitors from developed countries such as Germany, the United Kingdom, and the United States have given such handicrafts a high rating. And the three inheritors are also exploring the higher performance of the Beijing Feeder.
As Liu Yu said: “After many things are once industrialized, they will be flooded. We don’t want to see Beijing's equipment being spoiled. Therefore, we must present the highest technology and do one thing to make it unique. Quality. The works we are designing today have not been able to imitate.â€
However, the difficulties encountered in the development of Beijing's feeders are also realistic. For example, apprentices for feeders are hard to find. It takes four or five years to learn how to make materials. This stage not only has no income but also consumes a lot of materials and fuel. The previous generation of Xing Lanxiang masters was born out of a large amount of raw materials.
Liu Yu recalled: “I just grew up in the Beijing Feeder Factory. When we were young, our favorite place to play was Feeder Mountain. The materials that those workers made was piled up into mountains, so you can imagine what you were doing. How large a feeder is."
But today, even the raw materials used to process the feeders have become problems. With the closing of the Beijing Feeder Factory, the key technology of Beijing Feeder, the preparation of raw materials, also “closed down†and the formula was lost. The raw materials of Master Xing Lanxiang of Baigongfang are now purchased from the farmers of Tong County. The quality of raw materials cannot meet the requirements of the design makers, and they cannot be based on the needs of the works. Therefore, in order to prevent Beijing's feeders from drowning in this, collecting the formulas of materials developed by scattered raw material plants and establishing a batching workshop is the key link that can truly solve the problem of Beijing's feeders.
This made Liu Yu can not help but begin to miss the feeder mountain: "It is said that Beijing Shilihe is the dormitory area of ​​the former Beijing Feeder Factory. The foundation of the entire dormitory area is the waste piled up from the material plant of that year. If there is a day, Shilihe Demolition, if there is any waste on the ground floor, I will definitely bring back all those wastes. These are all good materials that we find difficult to find now. Now the recipes for many raw materials have been lost. There are very few good ingredients.â€
Therefore, the vessel is a true traditional ancient glass, and it is also one of the representative arts of the ancient court. So, what kind of artistic charm does Beijing material implement have? What is the state of existence today?
1/ The production of carved plastics in the fire required improvisation in the flame of the torch. How the level of work depends on the producer’s experience and craftsmanship is also called sculpture in the fire.
The material of the feeder is a large amount of silicates and other metal oxides found in the natural world. They are melted at a high temperature and pulled into a variety of material sticks. The material sticks are then burned on the lamps and processed into materials by hand. Device.
The shape of the feeder product is mainly in the lamp industry. Artists use various coloring sticks to roast on the lights and quickly mold them when they are softened. They use simple gadgets to pull, sometimes sticky, sometimes with scissors hinges, and sometimes with rakes to create works of different shapes. Compared with glazed glass, the feeder does not have a bottom tire and is an impromptu work performed by artists in a single fire. Therefore, it is more difficult. Moreover, the material has a relatively low melting point, a large specific gravity, a large number of colors, and a variety of colors. There are transparent beasts, hanging screens, smoking accessories, bonsai, flowers, birds and fish, as well as rings, cap flowers, and beads. Feeder birds and beasts use traditional techniques to imitate jade, jade, agate, coral, etc. The colors are vivid, with a unique style and charm.
In the earliest period, when feeder artists operated, edible vegetable oil lamps and wicking grass oil lamps were used. In order to make the lights prosperous and change to horizontal combustion, they must have a fine glass tube in their mouths, blow air from the sides to the flames, and warm the barbecue sticks, so the material artist has got a “blowing jobâ€. Commonly known. By the end of the 18th century in the 18th century, the use of gas cylinders was used instead. The production environment was very harsh and was a waste of vegetable oil. In 1965, Beijing Feeder Factory switched to gas torches for production. This method has continued to this day.
One of the characteristics of the feeders is that in addition to the styling techniques, a key technology lies in the ingredients, that is, the recipe for making the sticks. In general, the feeders are silicates and other metal oxides like glass and glass, but for different works, the added metal oxides are different, and sometimes even some precious metals such as gold and silver are added.
The old entertainer Chen Dehai had used material feeder materials to imitate artifacts such as “Tang Sancai†and “Bronze ware.†His vivid shapes and quaint realistic texture left a deep impression on people. The premise for producing this kind of works is its Material preparation. Nowadays, it is very difficult to see the type of foreign material feeders in Gu Yuexuan. It is because people who are engaged in the production of materials do not have control over their formulas and processing techniques. This has not been done yet. Gradually forgotten.
According to Liu Yu and Liu Xing, the seventh generation descendants of the material, the creation of the material utensils is a very difficult art. From learning material feeders to teaching for at least four or five years, it is not like clay, plastic and jade. It can be done slowly and carefully. As glass raw materials, the material can not be burned too long in the fire, otherwise it is not fried, it is burned and deformed, and as long as the utensil is formed, it is difficult to modify. It's not easy to find the material in the fire. It's even harder to create good works.
The hand-made craftsmanship makes the work of the material unique, and the difficult production process also enhances the rareness of this handicraft. The master of the material master is through the delicate and skilled craftsmanship, and the ingenuity of the creator, to reflect the Chinese cultural charm through the luster, colorfulness, tenderness and mystery of the glass material.
2/ The Orient Glass Art The concept of modern glass art is a western perspective, such as emphasizing the aesthetic methods of famous glass production bases in Europe such as Venice since the 15th century. The glassware is known for its pure texture and comparable to natural crystals. Therefore, these glass arts are also called artificial crystal arts. This type of glass, the most representative brand in China is Swarovski, they can burn the glass is very pure, and then make a variety of cuts to form a variety of beautifully shaped jewelry.
The biggest difference between western glass and oriental glass is the difference in composition. Western glass is generally doped with a large amount of sodium and calcium. The feeling of sodium-calcium glass is particularly pure, bright, and very clear. These glass works are also particularly bright and have high purity.
In the past few years, glass craftwork represented by Taiwan was formed by the addition of high-grade art glass to Chinese glass elements. Its production process is mainly cast by the lost wax casting method. However, strictly speaking, Taiwan's glass is not a traditional Chinese glass, but a pure glass art.
As a pure glass art, the glass used has a high melting temperature of 1700 degrees Celsius and an operating temperature of 1300 to 1400 degrees Celsius. To form this temperature, a furnace is generally used. The use of furnaces allows the glass art to make very large shapes. The bright colors of Taiwan's glass are formed by the incorporation of metal ions.
On the other hand, traditional Chinese glass has been used for many times like porcelain, pottery and jade. It is like Tang Sancai, the glazed tile of the Forbidden City, the Nine-Dragon Wall in the North Sea, the hat on the head of the ancients, and the decoration on the sword. Because of the traditional Chinese glass, its essence is a glaze formed of silicate, gardenia, lead oxide, etc., ie, low-temperature lead glaze, with low melting temperature and rich colors. These characteristics are reflected in the Beijing feeders.
3/ Brilliant and Adhering to Beijing Feeder is now a state-level intangible cultural heritage protection project, demonstrating its inheritance relationship on the basis of traditional Chinese glaze technology. As for the history of the development of Beijing's feeder technology, there are many problems that need further study. For example, the Beijing Container has developed over the past three generations of the Yuan, Ming and Qing dynasties and has a history of more than 600 years. However, the material ancestors approved by the ancestors are the ones who fell in the black during the 20th year of Qing Daoguang (1840).
It is said that Zhang Hao inadvertently found half a broken glass bracelet because he was curious to play in his hand. Later, he discovered that the glass could melt and soften in the fire, and he made a few beads with this half bracelet. These beads, like jade, are quite beautiful, so they took the jewelry market to try their luck and did not expect it to be popular in the market. Afterwards, he set up a material workshop and began to produce such handicrafts. This show was also honored as the first generation of paternal masters of Beijing's feeders.
During the first generation of the founder, a certain amount of material workshops had been formed. By the fourth and fifth generations, it was the most brilliant stage of Beijing's feeders. In 1930, the Beijing folk artist Zhao Jiuzheng opened a “Siyi Gong†chemical material workshop in the flower market, which ended the history that Beijing's material feeders must “expand†and “foreign materialsâ€. In the same year, Beijing material feeder artist Jiang Wenliang (Jiang II) opened the "Ziyuan No.1" feeder workshop in the flower market. Wang Fu opened the "Changfeng No.1" feeder workshop and collected apprentices. After several decades of development and competition, the four major schools of Chiang, Wang, Zhao and Yue gradually formed in the flower market. Jiang Jiamen, represented by Jiang Wenliang and Jiang Wenkui, is known for his workmanship and liveliness, and he is particularly skilled in making materials. Wang Jiameng, the founder of Wangjiamen, is most famous for his birds and beasts. The head of Zhaojiamen is Zhao Jiujun. His specialty is the petal of the production stone. Yueziyuan of the rising star Yue Jiamen is an expert in production and sales. Among the four major schools, the most apprentice is Jiang Jiamen.
In the material industry, Chen Dehai, the only artist who was awarded the title of “Master of Arts and Craftsâ€, began to learn with his brother-in-law, Jia Yanan, the old artist Gao Yanshan when he was 12 years old. At the age of 20, he worked as a material worker and was in Beijing. In the first line of artistic talents, the feeders produced and sold more than ten types of feeders in the Dong’an market. After the founding of New China, a public-private partnership was implemented. The Beijing material feeder artists were brought together and the Beijing Feeder Factory was established. Premier Zhou Enlai personally approached the issues of fuel, scale, and craftsmanship. After the Beijing Feeder Factory was established, Chen Dehai also entered the factory. Under the care of the country, the descendants of the fifth generation of materials have also made a lot of quality. However, all the feeders at the time were still exported. The Beijing Feeder Factory used to be a big foreign exchange earner in Beijing, and it can exchange large amounts of money every year for the country. Heads of many countries visited Beijing and were full of praise for the material art.
After the reform and opening up, arts and crafts are no longer the country's irresponsible reliance, and for the domestic market, related consumption has not kept pace with it. Therefore, the fifth generation of material arts and crafts have chosen to divert, some exquisite material craftsmanship It is also stranded. Today, the only remaining master of Beijing's material feeders is the sixth generation descendant Xing Lanxiang.
Xing Lanxiang graduated from the Beijing Institute of Arts and Crafts, and engaged in the material industry for 48 years. He was named Beijing Folk Arts and Crafts Master. He is currently the only Chinese material artist to receive the title of Master, and is also the only remaining master in this generation.
Master Xing Lanxiang's ability to preserve this skill is also related to accidental chances. That is, after Xing Xingxiang retired, the owner of a company in the United States looked at the equipment and hired her as the company's artistic director. In 2003, out of the protection of traditional handicrafts, the Beijing Municipal Government set up a hundred workshops to provide centralized protection for various traditional arts and crafts in Beijing. In the search for feeders, only Xing Xingxiang was found. Today, after Master Xing, her sons Liu Xing and Liu Yu became the new relays and became the seventh generation descendants of Beijing Feeders. Without the hard work of these three people, Beijing's feeders may withdraw from this stage of history.
In fact, Beijing's feeders are not without markets. As they float across the sea and participate in foreign exhibitions, visitors from developed countries such as Germany, the United Kingdom, and the United States have given such handicrafts a high rating. And the three inheritors are also exploring the higher performance of the Beijing Feeder.
As Liu Yu said: “After many things are once industrialized, they will be flooded. We don’t want to see Beijing's equipment being spoiled. Therefore, we must present the highest technology and do one thing to make it unique. Quality. The works we are designing today have not been able to imitate.â€
However, the difficulties encountered in the development of Beijing's feeders are also realistic. For example, apprentices for feeders are hard to find. It takes four or five years to learn how to make materials. This stage not only has no income but also consumes a lot of materials and fuel. The previous generation of Xing Lanxiang masters was born out of a large amount of raw materials.
Liu Yu recalled: “I just grew up in the Beijing Feeder Factory. When we were young, our favorite place to play was Feeder Mountain. The materials that those workers made was piled up into mountains, so you can imagine what you were doing. How large a feeder is."
But today, even the raw materials used to process the feeders have become problems. With the closing of the Beijing Feeder Factory, the key technology of Beijing Feeder, the preparation of raw materials, also “closed down†and the formula was lost. The raw materials of Master Xing Lanxiang of Baigongfang are now purchased from the farmers of Tong County. The quality of raw materials cannot meet the requirements of the design makers, and they cannot be based on the needs of the works. Therefore, in order to prevent Beijing's feeders from drowning in this, collecting the formulas of materials developed by scattered raw material plants and establishing a batching workshop is the key link that can truly solve the problem of Beijing's feeders.
This made Liu Yu can not help but begin to miss the feeder mountain: "It is said that Beijing Shilihe is the dormitory area of ​​the former Beijing Feeder Factory. The foundation of the entire dormitory area is the waste piled up from the material plant of that year. If there is a day, Shilihe Demolition, if there is any waste on the ground floor, I will definitely bring back all those wastes. These are all good materials that we find difficult to find now. Now the recipes for many raw materials have been lost. There are very few good ingredients.â€
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