Theme: Seminar on Inheritance and Innovation of Chinese Cloisonne Art

Time: January 5, 2020 (afternoon)

Venue: Guozhong Ceramic Art Museum

 
Tang Kemei: Dear leaders, experts and scholars, masters, our seminar on the inheritance and innovation of the Silk Road Pearl Cloisonne art is now beginning. The opening ceremony of the exhibition of silk road pearl Cloisonne master products was very grand, very warm, and people gave speeches at the meeting all spoke highly of the works of this exhibition. They think this is the most concentrated and the highest level exhibition of cloisonne in Beijing in the past 70 years. This exhibition shows the highest level and style of Beijing cloisonne, and at the same time puts forward the direction of our future development requirements. And how can we take our cloisonne art internationally, internationally? How to put forward new requirements for our cloisonne art to the world in the process of building China into a powerful cultural country through inheritance and innovation? The topic of our seminar today is the inheritance and innovation of Chinese cloisonne art. The key to inheritance and innovation is how to innovate. Now I would like to introduce the guests present for this forum.

You are all familiar with Dean Chang Shana. She is the guide of art and the supporter of our art. Thank you very much for her speech in the morning. The second is Chairman Zhou Zhengsheng, the executive chairman of China Arts and Crafts Association. The third is Chairman Li Jie, Secretary of the Party Committee and Chairman of Beijing Gongmei Group Co., Ltd. The fourth is Director Sheng Jingtao. Director Sheng is familiar to everyone and is the director of the Beijing Arts and Crafts Industry Development Promotion Center. The fifth is President Chen Gaochao, President and Editor-in-Chief of Beijing Gongmei Publishing House. The following is Researcher Ma Min, associate researcher of the National Museum of China. Chairman Yi Fucheng is the vice chairman of China Arts and Crafts Association and chairman of Beijing Enamel Factory Co., Ltd. Xie Yanhua is the vice president of the Beijing Arts and Crafts Industry Association and the director of the Metal Professional Committee. Wang Shuying, General Manager of Beijing Hanyihuang Cloisonne Arts & Crafts Co., Ltd. Mi Zhenxiong, master of Chinese arts and crafts. Dai Jialin, a master of Chinese arts and crafts. Huo Tiehui, a master of Chinese arts and crafts. Fan Weimin, a senior arts and crafts artist, is the president of the "Sculpture" magazine. Li Xinmin, Beijing first-class master of arts and crafts. Han Zhenshan, Beijing first-class master of arts and crafts. Ding Minghong, Beijing first-class master of arts and crafts. Li Jing, Beijing first-class master of arts and crafts. Jin Yutian, Beijing Arts and Crafts Master. Zhang Xu, Beijing Arts and Crafts Master. Song Ningjie is the chairman of Beijing Ronghui Cultural Development Co., Ltd. Cao Zhenyu, deputy director of the Beijing Arts and Crafts Industry Association, and director of the cooperative development department. Many of you comrades watched the exhibition, and you have a lot to say. Next, please let Chairman Zhou Zhengsheng be the first to speak.

Zhou Zhengsheng: I am very happy to make a special trip today to participate in the Silk Road Pearl Cloisonne Master's Innovative Works Exhibition and the Chinese Cloisonne Art Inheritance and Innovation Seminar. 2020 has just arrived, and at the beginning of the new year, a fine feast of cloisonne in Beijing's arts and crafts industry was held this afternoon in the capital Beijing Junior High Ceramic Art Museum. Everyone's evaluation is very good, I think it is special, professional, and high-level. This is one of the best cloisonné art in Beijing. I think this is the beginning of Beijing's art industry. It is gratifying and also makes me feel very happy and gratified. As a supporting unit, I would like to make three points below.

First, I warmly congratulate the joint research consensus. On behalf of the China Arts and Crafts Association, I would like to extend my warm congratulations to the successful holding of the exhibition and the seminar, and I appreciate and welcome the two main themes of the seminar. I wish the seminar reach consensus, shared research, and three commons. The purpose of the research is to reach some consensus through research, and at the same time share resources for mutual benefit and win-win

Second, cloisonne art is really court art. The imperial style and cloisonne art were introduced into China from the Yuan Dynasty. After six or seven hundred years of inheritance, improvement, optimization, beautification, promotion and inheritance, innovation, promotion and development, especially since the Jingtai period of the Ming Dynasty, as the imperial court art. The royal culture is very rich cloisonne with elegant design, exquisite workmanship, grand beginning, royal charm, the first is elegant design. There is the significance of traditional Chinese culture in it, exquisite workmanship, many large and small processes, and grand momentum, really reflects the royal style. Some are elegant, colorful, the unity of form and spirit, resplence, is indeed the royal style, extensive and profound, not only is the treasure of the town home, the treasure of the town country, but also the treasure of the emperor's town hall, worthy of the Beijing Yanjing eight unique and the four Ming Dynasty. Moreover, Jingtai art is indeed a world-renowned gem of traditional Chinese culture, and also a brilliant pearl of the Belt and Road. Several masters and expert leaders told me, including Chairman Li Jie, that our current cloisonne level has reached and surpassed the highest level in history in many aspects. It is true that cloisonne is so impressive that it cannot be praised too much.

Thirdly, we should combine one of the two themes of today: "Going global", "Going abroad", "Demonstrating communication" or "Promoting communication". I've traveled to Iran, the Middle East, Japan and many other countries for my work. They also have a lot of cloisonne, and they have a long history of craftsmanship, or a lot of it comes from here. Now they all have the skills of cloisonne, their design and production are also good, but I think Chinese cloisonne is a little better than them. China's cloisonne is unique in several ways. Our plastic arts are diverse, colorful, works are majestic, unique quality temperament, worthy of the royal style, royal style. So I think Chinese cloisonne really has the technical advantage of going out. In addition, over the years, as the jade gift of national gifts, several general secretaries have given gifts to foreign presidents, prime ministers and foreign dignitaries, and the central government has always given gifts to foreign heads of state and heads of state or performed on the spot.

I have seen the performances of several masters including Master Li in Zhongnanhai, which played the role and function of small state gifts, big diplomacy and big culture, and were deeply liked by foreign dignitaries. I think it is the right time for Cloisonne's works to go out. Of course, we should choose the right country and marketing strategy on the basis of sufficient market research and demonstration, and actively try and explore it prudently. This is a theme, and we have the skill base and the skill level. So many years of publicity, we have considerable visibility and influence in the international market, so we can make some attempts, but need to go through detailed demonstration and research, including the selection of the right country and marketing strategy. Some Beijing cloisonne masters do a good job in this respect. As far as I know, they have done a good job in promoting and spreading their knowledge in many countries, and they can be learned from and exchanged with each other. Finally, I would like to take this opportunity to congratulate you on the upcoming Chinese New Year of the Rat and wish you a happy and prosperous Year of the Rat.
    
Tang Kemei: President Zhou is the executive director of the China Arts and Crafts Association. He was the president a few years ago. It should be said that from the preliminary understanding of the arts and crafts through his continuous efforts, practice, research, writing, he has a deep and in-depth understanding and research of a variety of fields of arts and crafts. Tang is now a member of the Chinese Museum of Culture and History, 19 in China, and a counselor of the State Council. I think in the past 70 years, no one in the field of arts and crafts has entered the Beijing Museum of Literature and History and the China Museum of Literature and History. Now President Zhou is the first to enter the national museum of literature and history as a researcher. I think he is not only glorious, but also a great responsibility. For example, how to put some problems of our arts and crafts through his research and investigation, he can have a priority, unique channels to reflect.

Zhou Zhengsheng: I'll just say a few more minutes. I have already reported to chief, director, minister. (minister r is minister) respectively. I want to do an industry research. There are several topics. First, in the past ten years, the central government has introduced a lot of policies on culture, including arts and crafts culture. However, I often go to masters and have a look around the country and find that there are few of them. Some of them even don't have pepper powder. My first suggestion is to look back. Second, in view of the change of the main body of the investment market, many groups bought a lot in the past. Now there are more high-end customization, so I think it is necessary to have precise policies for the craft and cultural industry. Third, One Belt And One Road goes out. As far as I know, the central government is focusing on this issue, and some major policies may be introduced this year. Central leaders have said that we have invested hundreds of millions of RMB in foreign industries, such as wharves, steel and so on. It has been more than ten years since culture went out. Therefore, the central government should introduce policies to support culture to go out. Later, the counselor told me that I reported to him last year, and he said that he would focus on this issue next year, and he would support some policies. Fourthly, in the medium and long term, the market system of socialist craft culture should be established, including evaluation, standard and broker system. I hope, in the medium to long term, we can build this. I have already reported the research. There are six subjects to be investigated and discussed after coming back. I hope I can succeed after the demonstration. I still have to work hard and there will be no doubt about it in Beijing. This is an important place, and I'm sure everyone's opinions will be sought.

Tang Kemei: Just now President Zhou spoke highly of the works in this exhibition, which reached the highest level in history. In addition, he has traveled to many places both at home and abroad. After the investigation of enamel at home and abroad, he affirmed in his speech today that all the achievements of our cloisonne exhibition should play a role of sharing consensus and joint research in our industry. At the same time, we have the advantage of going global, because it was introduced in the past, through the digestion of domestic culture, became our own art, and now the level has reached a certain height, we have the advantage of going global. But going out we also have to do a lot of work, one is through the market research, the research of some countries in the world, choose the right direction, order, purpose to go out. Thank you, President Zhou. Next, please give the floor to President Chang.

Chang Shana: The research topic is inheritance and innovation. Now everyone is facing the direction of innovation, which is right, because The Times are changing and life is developing. But innovation is not what you want. It is very important to study, study and understand the traditional things well. Then according to the needs of modern life and production conditions, the development of science and technology, the needs of life, and then to innovation. Now it is a little too impudent, because now everyone attaches great importance to the Silk Road, especially President Xi Jinping went to Gansu for research and interview. The first stop to Dunhuang, to the Mogao Grottoes, inside a circle, he has a lot of feelings. First, he was right to feel that there was a need to preserve research, and then to make good use of what was traditional. How to use, how to enliven, is I just talked about how to master the innovation.

Now many painters have a feeling after they go to Dunhuang that they immediately paint a few paintings and a reflection of Dunhuang, but they have not thoroughly studied how to represent the characteristics of each era in which Dunhuang has ten dynasties lasting for 1600 years. And then just painted it, and this is the Dunhuang reflection, and then painted it in the style of Dunhuang. I saw the painting by Zhou Na. I felt very uncomfortable when I saw it. If it goes on like this, it will be destroyed. Her feeling is to use the hand. The Buddhist fresco is a variety of fingers are particularly beautiful, the structure of all aspects of the performance is particularly familiar, and special features, she used her hand to randomly fiddle there, do not do well is to blasphemate the traditional culture and art. Such development will destroy our traditional culture. We have a responsibility. We can't go on like this. She also felt very proud, the top said a lot of how to consider, how to do, so we must grasp.

I have always emphasized that my students study well in every era of the 16 dynasties, the Northern Wei and so on. In the Tang Dynasty, there were the early Tang, the prosperous Tang, the middle Tang and the late Tang. How did he express the things of Tang Dynasty in each era? The same Buddhist content and artistic expression are different. After the performance of a good study, the tone is not the same, the tone of each era is not the same. In the early days, earthen red was the main background color. By the Tang Dynasty, every color was divided into cold color, warm color, contrast color and adjacent color. This requires hard work, and this effort is learning. You master you to draw, to design, how to draw also has its own characteristics.

And what you're using now has to be integrated with the function. You are a cloisonne vessel, shape, according to this design, or fabric, clothing or make a bag, must be combined with the function. I took part in the fifties of the ten generation building, in the Great Hall of the People I attended. I was lucky enough to do a lot of projects, a dozen projects in all. For example, the banquet hall, and so on, the final choice to choose is my plan. But the engineer at the time was Zhang Bo, and he said to me, you have a very good drawing, it's a Dunhuang pattern, but you haven't integrated it with the function, with the size, with the needs of the building. You want to light the vents, and this needs to be combined with the pattern, and this is called function. After I listened to my inspiration is very big, from then on I work overtime every night to change. Because the time required by the Great Hall at that time was very short, after he had looked at the changes, he made them according to his guidance and needs, according to the needs of the architectural structure and the needs of the engineering materials, and finally we saw the banquet hall of the Great Hall of the People, which combined the air vent with the pattern and the lighting. At the beginning of the middle he felt that not good, lighting can not be light in the middle, to broaden, and then let go of the lighting, the point of the small light. He said that when such a transformation is combined with the function, I will be satisfied and become like a necklace. So now, after more than half a century, the banquet hall of the Great Hall of the People has been functioned for decades, and everyone feels that the function has been solved. The modification of the north hall is also like this, which should be combined with the palace, and should be combined with the study and research of functional materials.

The example I just gave was too casual, she did it in oil painting. I am dreaming how to do it, absolutely not, should be responsible, so now the development of cloisonne is also multi-faceted, and should be combined with the function. What is the size and proportion to do, on behalf of the country's gifts, the original things are also improved, in addition to the original some patterns, decoration, but also to use Dunhuang, but also use flowers, to do research in order to innovate. Now we call it inheritance and innovation. If the two things are well combined, they can really develop and become Chinese characteristics. All we pursue now are foreign affairs, so the true, the good and the beautiful should not be fake, ugly or evil. The good aspects and bad aspects, and the aspects to be avoided, put forward by this principle are well summarized. We must apply these principles to our design, production and practical work.

Tang Kemei: President Chang's views are very clear. She has been there for decades. She has a very deep understanding of inheritance and innovation in theory, but she also does so in action. We should bear in mind her words. Now we are all very old, but tradition is what we must insist on learning all our lives, because it is the cultural context of the Chinese nation and the most essential thing accumulated by our ancestors over thousands of years. Sometimes I find dean at work, sometimes words above tradition without innovation, she said I not stem, so should study well, traditional research, understand, for our life, social development and production, and so on a series of conditions, and the combination of function demand to innovate, and must work on traditional learning. President Chang said that hard work is to learn by asking, to learn by asking, to learn by studying, and to learn by studying. These words have always been our motto. We should do arts and crafts. It is a good motto. Thank you, President Chang.

Chang Shana: We need to keep our Chinese characteristics. Wherever we go, we will find ourselves Chinese from a long distance.

Tang Kemei: And she was very hands-on about what we should do and what we shouldn't do. She often criticizes. Criticizes is to insist, adhere to the Chinese style of beauty, culture and art. She often criticizes others. She is right. She is an old scholar. Next, we invite Chairman Li Jie to make a speech.

Li Jie: I would like to talk about some personal ideas. In fact, the main body of our country is the mainstream, is the main body of the country, the market to supplement. In this framework, our 5,000 years of cultural history of the Chinese nation has been looking forward to a good emperor, a good parent in the family and a good leader in the enterprise. If you don't think about it in this system, you can't get anywhere. Today is actually a supplement to the market. Zheng Zhi, the chairman of the Ocean Group, has been engaged in art for many years. I often participate in his activities, and the operation is very successful. This time, he did a lot of research on cloisonne, because now cloisonne is hot, they also went to enamel and related factories after the research, he is a kind of market supplement, today's success, market supplement is better than the government set up a platform to do. I believe that the continuous promotion of our products, our masters and our works during this period will definitely promote the development of Chinese cloisonne. This is an overview of what I mean.

People and possessions, people are the most important. In Beijing, for example, there are experts like Ms. Chang Shana and Ms. Tang Kemei, who participate in the competition for flights from all over the country. I know a lot of people are looking for them, so they stick to it. And there are a group of masters in their 70s and 80s across the room. I'm really moved. You love this, and you don't feel tired when you integrate your love with your life and career. We also followed up a number of young and middle-aged people, some of us also got up, after today's Institute of Fashion, Tsinghua Academy of Fine Arts and so on, including the United University has been carried out off and on, their first choice is to do designers. In recent years, they have quickly become masters on state-owned platforms, and they have a lot of skills, not to mention joining the Party. Now Shen is the president of the Academy of Arts and Crafts, but the Academy of Fine Arts in Tsinghua refuses to let him be a teacher. The other day I told them that he had to be expelled from the party before he left. He said you can't do that because he belongs to the Democratic Progressive Party. We'll promote him all the way until he leaves. Feng Chaowei, who has just become the general manager of the technology center, is a graduate of the Tsinghua Academy of Fine Arts, from the state, to enamel factories, to private companies. Please rest assured, one thing to cover another thing, do not worry, great waves sweeping away sand. It will continue to pour into new sand, just the ups and downs period worries us. How to protect and tap talents is very important. We should give them a wide sea with which to dive and a high sky with which to fly. We should create an environment and conditions for them. Over the years, I have commented on masters and always mentioned that they should be admitted as much as possible. It is not easy for these 30-something masters to enter Beijing. This is in terms of people.

Will tell from money, these years we have national fund, government fund, from the country, Beijing, each provinces and some cities. When I communicated with Song Mei last time, the exhibition of the state fund in Morocco was funded by the state, and the effect was good. Beijing, Tianjin and Hebei three provinces could have a little fund every year, for example we could also have market exhibition. This time, China Labor Association Minister Yang suggested that Li Peiqin go abroad. They are also pushing, do research on how to go, in fact, we dig out is the market to promote him out. Then the market needs what products, Chinese food and western food is not quite the same, want to let him buy also have to adjust your products, things have a continuous process of adaptation. So why did he study this, study his model, popularize some of his experience. When we communicated with each other about this issue last time, we also talked about doing a good job of this exhibition, showing it to One Belt And One Road and abroad. The reason why we have this exhibition is because it allows our masters to go abroad, because they have many platforms in the world, which I think is very good. Just now, I also asked President Liu to support Master's work, including a discount of several percent for enterprises. Master must be aware of this, if not, enterprises will donate some money and hold another exhibition. If so, it is a virtuous circle.

Now Beijing has formed three series, the national gift series, we play the strongest card, is the royal culture. Yanjing eight unique, the real Yanjing eight unique is the inheritance of the rich, if 108 procedures, 118 procedures. Iran also has it, Taiwan also has cloisonne,  of course they can not compared with our level. Because it was passed on by the rich, and if it wasn't passed on it would have died out. Of course there are ups and downs, and now I think it has reached a peak. When I went to the enamel factory for the last state gift, they told me to go back and talk about you young people. I went back to the technology center and said, "Art has nothing. It's not cloisonne anymore."In the past, the designer considered whether the cloisonne could be burned and what the shape could do, but now the young people don't ask about it. I design it you do it for me, a force also forced out, in fact, we are creating history. Now the level of the tooling is very good, Li is always the same as me, anyway, in fact, there is nothing that can not be done. As we improve, I think the organization is the most important.

At present, various enterprises, whether they are Beijing Arts and Crafts Group or enamel factory or various studios, now have a high degree of overlap with 397, 12 groups, so it is very important to organize. If you do not organize, the government will not give you money. If you organize, you may have 3 million to 10 million, including those from the Ministry of Culture, the Bureau of Culture, and the Bureau of Culture and Tourism, all of them come to us, because we have an organization, and all the provinces have one. Perhaps Beijing Arts and Crafts is the best, including the development center of Beijing Arts and Crafts is our innovation.

Zhou Zhengsheng: The ten categories are one category, but more than 70% of the exhibition and sales are arts and crafts. Last time there was an exhibition where many masters were present and some plays were not shown well. It's the masters that are really on display, but we have a lot of scale and influence. Including the fair, Beijing, Shenzhen, Shanxi I have been to, are a lot of master's works, so the vitality is very strong.

Li Jie: Now we have made such achievements, how to consolidate it? I also talked with the Organization Department this time, including with Zhang Jing a few days ago, who should be the chairman of the board of directors of Beijing Arts and Crafts, must be the chairman of the board of directors of the industry association and the joint group. Who is the chairman and who is the president of the industry association, that is our big experience, to make sure that the organization becomes a template and a model, and then have the backbone on the next platform. Today, I praised him face to face. To tell you the truth, some paintings are not without a leader. He made the ceramic of the wind and water, and then I talked to him, I said you do this to take these two down. One is the professional committee, the other is the conglomerate all have to take down, he all next. As long as there is such a warm-hearted person, he will draw on the resources of his boss. I suggest that we invite dean Liu Lin and Zheng Zhi to take it into consideration. I think he has this kind of enthusiasm and this kind of person can do this job. In this, we build the platform is beneficial platform, sharing platform, communication platform. Each village has the best move of each village, the south and the south have the style of the north and the south, but summed up, these years, especially cloisonne is more integrated, more diversified integration, the north and the south are more integrated. May be that people are more complex, a complex people will have a complex mentality, can deal with complex things. Today, we have to have organizational guarantee, operational guarantee, system guarantee, and finally talent guarantee. We will communicate more, share more, and stick together for the winter. To engage in an exhibition, you may invite enamel factory, or you invite master Huo and so on is such a feature, we are mutual help. What President Xi says is right, and what he says is right at the macro level, and what he says is right at the macro level, and what he says is right at the micro level, we are the ones. Some people in Beijing, if we have a problem, we can say that there is a problem with Chinese cloisonne, so our responsibility is very noble, very glorious, very great. Many of the second and third generations have risen, and their careers have been advancing one after another, so I am very honored. With this idea, as long as people and platforms are well built, many difficulties are dismemberment problems, which can be overcome.

Now from the aspect of organizational guarantee, multi-management of the state to fund, go out, the master out, there are a lot of directors such as Zheng Zhi in the market。 Finally we will have political effect, social effect, economic effect, also made a contribution to The Times. Thank you very much.

Tang Kemei: Thank you, Mr. Li. Mr. Li's point of view is very clear. Because today's cloisonne craftsmanship is beyond history, our Beijing cloisonne actually represents the level of China. Beijing cloisonne today is beyond the traditional craft, from the art, works are beyond the history. How to consolidate, how to consolidate today, he made a very important point. It's the guarantee function of the organization, the function of management. This is similar to President Xi's suggestion that we must modernize the governance system in order to improve socialism with Chinese characteristics. How to improve the level of management, organizational security inside the level of management, system, talent, build a good platform, in addition to do a good job of communication, so that the arts and crafts to play a better level, to go abroad, this is a very important basis. Thank you, Mr. Li. Now let's invite Director Sheng Jingtao to make a speech.

Sheng Jingtao: Dear President Chang, good morning. Just now I heard about your past experience. As for the art and crafts design, I seem to go back to what you said in the class 30 years ago. Arts and crafts itself is three characteristics, one is decorative, practical, but also The Times. That's my point of view. Cloisonne as one of the arts and crafts, the art itself is a feature in Beijing, because it is the royal craft, the royal craft. As a royal craft, it's now passed down through the years including our conservation, and I think it's really at a very high stage now. I also agree with what Mr. Li said just now. In fact, all arts and crafts are the same, which are decorative and practical. Basically, the vast majority of arts and crafts are not easy to exist independently, even if you are a bottle you should also be given in an environment, you want to use in other projects, of course, it will complete its purpose. In this case, the design pattern of its arts and crafts is very particular, just Mr. Chang said I very much agree with, even a leaf, a petal should be repeatedly deliberated, color back and forth debugging, not a simple accumulation. Not I think how to go up a stroke can do it, really not so, of course, there are other crafts, wood carving, tooth carving and so on are so do everything possible, repeated deliberation. Some handicrafts are really different, can develop to now, we can spread down is really not easy.

From the government's point of view, since the promulgation of the Measures in 2002, we have done a lot of work in the past decade or two. We protect a lot. Now we are more focused on how to inherit and develop. Just now, President Chang talked about inheritance and development. You can do and push inheritance, but development is a big problem. How to go up in the traditional foundation of its dross, take its essence, innovation and development in such a premise. How to develop and internationalize cloisonne today? I think there is an epochal problem in the contemporary development. To put it frankly, the epochal problem is that each dynasty in history, especially the big dynasties, all had some distinctive crafts. I have mentioned Song Peom before. After many years of exploration by a large number of craftsmen and artists in these dynasties, some new crafts and utensils appeared, including folk history and household furnishings. It is only 70 years since our liberation. We don't have a long time. We need a lot of time to promote and promote. This does not have to be so anxious, need a lot of people, need more artists, we continue to explore and efforts, in order to form a certain characteristic. Of course the contemporary and the past are not without tradition, I think the tradition, we want its elements and essence.

For example, if you use classical Chinese to communicate with others in modern times, it does not mean abandoning our traditional culture to use vernacular Chinese now. Culture also exists, but the way of expression has been improved, very straightforward, not to speak. We in the arts and crafts is also such a truth, we do the traditional arts and crafts contemporary inheritance and development, we should take into account a certain degree of innovation, have a certain time, time is facing our future, facing our new generation. A few years ago, it was said that the post-90s were our potential customers, the young generation, now the post-90s are already 30 years old. The development of The Times is fast, now after 20, now we have to face the needs of these people and these customers, how to inherit and develop our arts and crafts, these aspects we need to carry out a lot of thinking. There are a lot of things that are not as simple as we think, we have a lot of skills in a variety of categories. My point of view is that the arts and crafts themselves are not unique in Yanjing. All People's Daily life contains arts and crafts, and this range is very large. It's a combination of traditional craftsmanship, but it also requires some kind of machine manufacturing, and that's OK. It is only for different audiences and uses, as well as different functions. When we do arts and crafts, we not only pay attention to traditional crafts. Of course, traditional crafts themselves are our core and root, which can not be thrown away.

Tell conversely, our design, modelling, design also is its this, this is very important. If you capture these, for our market, we have very high end Nobel Prize national masters, the equivalent of the Nobel Prize, this is our high point. At the same time, we also need to focus on the market, but also to have a good voice, but also to catch the market, this is a two-sided development, two directions. Both directions have to be taken into account when pushing the industry under this premise.

Tang Kemei: The views raised by Director Sheng have certain difficulties in the aspect of the traditional development of The Times, but they are practical and pioneering, and we need to continue to study what is the essence of the tradition and master it. Meanwhile, we need to work together to explore The Times. He put forward two viewpoints, one is the problem of traditional arts and crafts, and the other is the problem of industrial production according to people's living needs. These two are arts and crafts, one is handicraft arts, and the other is the arts and crafts used in daily industrial production. Now let's invite Chen Gaochao, president of Arts and Crafts Publishing House, to make a speech.

Chen Gaochao: I'm very glad. Distinguished seniors, experts and masters, good afternoon. It's my great pleasure to attend this seminar. In fact, I understand this symposium as a summit forum. Today's participants are all the most influential people in the Chinese arts and crafts industry. The key words of today's seminar are Chinese cloisonne art and inheritance and innovation. Although on the category of cloisonne discussion, in fact is the arts and crafts industry is currently facing the most urgent topic.
In recent years, cloisonne, as an important national gift of our country, has played an increasingly important role in foreign exchanges. How to Inherit and Innovate In this exhibition, we are pleased to see that some of our artists have started some new explorations in different degrees. When I was with Master Li Xinmin at the exhibition, and I saw his work, he is now taking a step forward from the tradition. When talking with Mr. Fan Weimin, his works have some innovations in form and structure, which is also obvious. The inheritance and innovation of arts and crafts is a great challenge for us, among which the first is the influence of the general climate and the fickleness of the whole society. The level of this exhibition is very high. In other exhibitions, there are often many mistakes in the selection of so-called innovations, including literature and history, and some elements, which is actually a severe injury.

From the perspective of the Arts and Crafts Publishing House, I hope that such activities with academic research and activities that affect the development of our industry should be held more often. At the same time, I think the whole industry, especially young masters, should lay a solid foundation for traditional Chinese culture. Only when the foundation of traditional Chinese culture is solid, can there be innovation, and only then can there be sources for your innovation. This kind of work, especially now is still on the basis of some traditional skills, we may also need to have some innovation in technology. Because there are some new technology with the combination of traditional art how to better, including some cultural and creative product, now carry some of the era of information, such as music inside, with closer to our life, so no matter from the market, from the point of view of collection, is more popular with the market or collectors.

Our publishing house is planning a series of books called The Story of national present in 2020.Like the works of some of the masters who participated in the panel today have been in the exhibition as a national gift, like the Zun of Peace.Our original idea is the story of the national gift and the peace statue, which is to put the creation idea of the peace statue in the creation process, including how to do the hard work in the production process, including the technology, including some preliminary planning in the creation process and so on. We want to do similar stories then, because now the story of national gifts is a two-way street, one is a Chinese national gift, the other is a foreign gift to the Chinese leader or the Chinese country. For foreign national gifts, in February 1972, when Nixon visited China, he gave China a porcelain swan as a national present.We talked to the experts of the National Museum the other day about this, and they said that the dictionary swan is the only two in the world, one of which is in the National Museum, so it is very rare. But later, there were many touching stories for the creation of porcelain swan, which we, as publishers, hoped would be similar to the stories of national presents.Like this, we take the stories of innovation in our industry, the stories of innovation, including some of the ideas in the creative process, and we can leave a very useful legacy for future generations.

It is written down today, and later generations may inherit it on the basis of our masters. If we do this today, in the process of inheritance, we will leave a correct message to our future generations, not a message that can be wrongly passed on. As a publisher, as a publisher, we hope that our industry in the planning of topic selection, in addition to the master's collection of works including your artistic creation of some of the process of feeling or conception. We will produce something like this so that our future generations can better understand our works.

Science Press has published a complete collection of excavated Chinese jade articles and a complete collection of handed down Chinese jade articles. When they came out from the point of view of archaeological relics, but they did not interpret from the point of view of culture and art. Because at that time it was all done by some teachers and experts in archaeology, but from an artistic point of view to really interpret. Nowadays, many ancient jade, including cloisonne, are not understood or understood by our collectors. We want to do something in this regard. The same is true of cloisonne today, because they also have some typical devices. For us, we will try our best to do more work in this field in the process of inheritance and innovation, so as to leave some valuable materials for everyone in the process of inheritance more accurately. Thank you very much.

    
Tang Kemei: Thank you, director Chen, who is the president of our Arts and Crafts Press. In recent years, he has focused on arts and crafts, and he has done a lot of work for arts and crafts publishers, and the level of publication is getting higher and higher. What they do now is to pay attention to, record and serve today's masters of arts & crafts, their works and the work we do. Through their records, they record the achievements of today's people for the era, for the masters and for future generations. Now let's invite researcher Ma Min to make a speech.

Ma Min: Thank you, here are my old-timers, dean Chang is my dean when I’m student; Tang is one of my most respected teachers; I know all the other masters like thunder. I did for many years in the countries rich collection work and it is difficult to speak with you for the master of works, because royal cloisonne has always been dedicated, heavy weight material. We don't have a strong guarantee in any aspect of capital, so we haven't expanded into this field. From our collection, we can also see that cloisonne is a very high position in the arts and crafts category.

Today the experts have said a lot. I am not an expert on cloisonne. In craft and modeling, the experts are the masters. Today I want to talk about the younger generation and some of the issues that look outside of the arts and crafts industry. For example, just now all the teachers said that the arts and crafts industry in recent years, the national gift is hot, especially concentrated in cloisonne. This may well have something to do with leaders' preferences. But I want to say is, the be fond of of leaders is short and hot country gift is brief, from the point of ceramic industry, now appointed to hot already blowing past, although the state to build a batch of enterprises, they pay more attention to the use of traditional Chinese elements, pay more attention to the transformation of high-grade porcelain, from power transformation into ceramic power, these are all good. However, it also has a negative impact on the enterprise. They may attach importance to high-end customized production instead of paying attention to the model of utensils for daily use and the long-term building of the brand. Many enterprises completely pursue the soft publicity of national gifts, which will delay their consideration of the long-term development of the enterprise.

From the ceramic industry, we also have some problems when we look at cloisonne. Second, for the national ceremony is the issue of the national museum. there are five barriers. I will say a barrier in advance, traditional and modern barriers. Modern arts and crafts industry barriers can not be broken. Now, including the cultural differences between China and the West, since the state gifts to give out, for example, if you go to some underdeveloped countries abroad, you will see the most high-end display of the presidential palace are China's sent to the handicraft products, the past generations. But the Western audience is not particularly interested in it. Instead, they are interested in something that is far inferior to our craftsmanship and is not made by a master. Many Western heads of state give us their products, not handicrafts and masterpieces. One product is a daily product that they have been selling for decades, and it can be bought in the West for only 1000 RMB. However, the gifts we give to the West are all hand-made works by masters. To this question, Westerners may wonder why China would give such things. Including the works we send are with eyes. We usually send works with more eyes.

On the other hand, a big country like the United States, the United States sent us white wax. Why did you send this one? Because at that time, the relationship between China and the United States was one of the most important diplomatic events for the United States. The second one was sent to the Vatican, because the United States is a scavenger nation and the Vatican is the Pope. China and the United States are in the socialist camp and the capitalist camp. The fact that he is sending such an important thing shows that he is a strategic reason for the country. 
From the level of the national gift, how much money, from the national gift we can not blindly say that the craft must be exquisite, I think there should be a unified strategic political consideration. The customs and habits of each country, our international relations with him, and the relationship between his national status and then to the targeted study of national ceremony. That's my idea.

Now the arts and crafts industry has many problems, of course, Mr. Chang, Mr. Tang has been trying to solve these problems. The first is that the barriers between colleges and industry cannot be broken down. Teacher Chang often said in some occasions, now arts and crafts, especially Tsinghua Academy of Fine Arts curriculum compression. They've cut down on hand-drawn pattern classes, and now kids are all gradient and computer, and no one really pays attention to their big classes, Chinese arts and crafts classes. As a matter of fact, children who study design do not pay much attention to it and are not clear about the history of China. When you ask him to engage in the design of a traditional arts and crafts industry in the future, and when you ask him to go deep into the tradition and then type it out, he will not be able to do it, and there is no way for him to complete it. We come out of the tradition of these masters, why the older generation of masters are particularly reassuring, because they went through strict production, study and research training, not only in the study, but also in the factory practice, but also in the industry practice. Now, because of the collapse of state-owned enterprises, the barriers between industries and colleges in education are becoming more and more clear and difficult to break down. This could be in the back direction.

There is another barrier between the government and the productive sector that is particularly difficult to break down. In fact, the government has been introducing a lot of supportive policies, including the National Arts Fund. But at the end of the day, you're going to find out, is this policy going to solve the real problems of the arts and crafts industry, who the money is going to, what the money is doing with it.You'll find that some of his criteria and the final criteria that he sets don't actually solve the problems of the industrial beauty industry. I can't solve the problem of the personal survival of the masters, nor can I solve the problem of the improvement of the industry, but it has all kinds of very strict assessment conditions, and the money needs to be used by the masters. The government needs some leaders who really understand the industry to come into the policy-making level to break down the barriers between the government and our industry.

It is difficult to break the tradition and the modern, our Chinese master is the best can firmly break into the tradition, but also can be brave to fight out. Now you masters have actually done a lot of precious steps, because you have a personal style, we can only look at the works without looking at the name of which is teacher Dai, which is teacher Song. You have already had your own style, has stepped into the traditional step, but compared with the current social state and the Qing Dynasty, the current product style and the Qing Dynasty product style, is to grasp the era style or need the younger generation to continue to break through.

Third, the barriers of workshops and modern business rules cannot be broken down. Mainly in this industry, why can a foreign leader take a century-old enterprise, a common product including Japan's vanilla society, a cup of butterfly costs 2,000 RMB, two cups and two saucers is 5,000 RMB, which is the standard gift for a head of state. They can take a mass-produced thing, an unlimited number of things and give it to our head of state. We give away things that a traditional craftsman would spend months on, and that's because we don't have a century-old business. The value of our products is all based on manual work. We constantly emphasize that it is done by hand, how long it takes to do it, how much money is spent and how much material is spent, but it is not based on the brand value of the world, so we suffer a great loss. I think so.

These foreign arts and crafts have survived the development of hundreds of years, we are the traditional primitive state directly from the feudal society has been now, we have not gone through the transformation of the western slow modernity. Our traditional artists are not divided into industrial workers, artists and designers in the West. We still have masters of arts and crafts, sometimes under the ministry of industry, sometimes under the ministry of culture. They require masters who can do business, design and communicate. This is a problem in our system, and it needs to change. It's not that we don't value craftsmanship and art. The cost of a hundred years of foreign brands sold very low things, the whole aesthetic is not actually lower than his limited edition. But now the master's workshop wants to do cultural creation, want to make cheap things for the public consumption, have been trying to fail. This is because we can only reduce the cost while giving up aesthetic style and quality, we can reduce the cost, so we are not the industry and industry competition, also is not the arts and crafts industry and ceramic industry competition. There are a lot of rich people, but now I'm surrounded by friends who would rather buy a Birkin bag for $200, 300, 000 than a master's work. Why is that? Our competitive economy is in competition with foreign and foreign century-old brands. What we are thinking about now is not something within the industry, but something that needs to be changed in an economic and social form.

Some barriers of academia, fans and the public cannot be broken down. Now, what they say, do, play and play are all within the circle. There are no fashion magazines here today, of course, there are professional arts and crafts industry, but there is no fashion magazine editor-in-chief, no real consumer with guidance and authority. And incendiary critics, we don't have our own critics for arts and crafts. Painters hold dozens of exhibitions at a time, and their critics can guide society. We now have our own art critics, is there any design critic, they said the public listening to it, we have a strong mass media to foster and guide our market, and to guide the young people of China now tradition is good, no one has told them, why we good, where is good, why is better than foreign, not the platform.

There are three main streams of innovative methods, not only arts and crafts, but also pure art, the method of combining Chinese and Western, represented by Mr. Xu Beihong, the method of Chinese and Western style, represented by Mr. Li Guoran, and the method of Western Qi Zhong, which is Lin Fengmian. In the process of modernization and in the process of combining Chinese and Western arts and crafts, we can also use these three methods. I'm not going to go into the details. Due to the different industries, the whole industry structure, personnel and materials are different. As for the industry of cloisonne, there are several aspects worthy of attention.

First, in fact, now the audience is changing, and the aesthetic orientation of the cloisonne industry has not changed. Although what several leaders said just now is also very right, now from the perspective of the overall consumption of arts and crafts, are all rich people in consumption, are high-end customization, but these people who are really buying cloisonne, in fact, they are anxious to do other allocation of assets of the rich. The price of cloisonne, the price of the master and the price he should have, the consumer group should be the middle class, not those who are now said to be rich. The rich are too general. We haven't captured the huge consumer group of the middle class. We've lost that group. If we include this group of consumers, the amount of consumption now is not a tenfold increase, even though they are all rich people, the rich people in this industry now should be middle class.

Second, if we want to seize the middle class and the post-00s and post-90s as the consumer group, we have lost this group because of our aesthetic or the royal aesthetic, and the principle of production with cost of labor and materials or the royal manufacturing principle, we can't occupy other consumer groups. It is not enough to use the traditional structure and depth when using the traditional form. Now we need to consider not just how to draw the petals better, but some things that the ancients have already reached the extreme. Modern technology must surpass the ancients, but our aesthetic appreciation is not necessarily so. Breakthrough is not enough, and process materials and reduce the cost and ensure the quality of contradictions cannot solve, ring on my finger is high temperature transparent enamel, this is my please Russian artists do, his cost is 100 RMB, I ask all the master well, he said that if in China do such a cost is in 1000 RMB of above. How can we compete with other countries? I can't buy this ring if it sells for 5,000 RMB, but I can buy it if it sells for 500 RMB. Therefore, now we are faced with the problem that the contradiction between aesthetic quality and production cost cannot be coordinated. For example, if we set up factories in Southeast Asia for embroidery, why can't we set up factories in Southeast Asia for enamel? If there are a large number of workers, why don't we use them? In an era of highly developed technology, it is more important to avoid showing off skills, and to sink to think about the needs and aesthetics of this era, and to make a greater breakthrough in aesthetics, rather than in technology.
    
Tang Kemei: thank you, researcher Ma Min, for pointing out some barriers in the development of arts and crafts, as well as some aesthetic problems, prices and materials. This problem also exists in my work, but how to solve this problem, on the one hand, we need to through research, but also through the mechanism of revolution and reform and a series of problems to solve, but these problems are some of the better development problems affecting our arts and crafts. Even though there are many problems, we still need to solve them in the process of development and develop ourselves in the process of solving them. Next we invite Yi Fu Cheng chairman to make a speech.

Yi Fucheng: First, today, there are leaders of the arts and crafts industry, leading figures of enterprises, national world masters, and the cultural communication of Song Zong. First of all, I wish the exhibition and today's seminar a great success. The exhibition and seminar should aim to create an exchange of 600 years' history of cloisonne making techniques without losing tradition, so as to achieve an innovative development. Because many of you are entrepreneurs, our exhibition, display, design and production, its purpose is not only for inheritance, is to have a huge market to support our inheritance, on this basis to let the cloisonne production skills have a better development, for the people's better life to serve.

Second, the 600-year history of cloisonne belongs to the royal culture. All the masters present today are engaged in the industry of cloisonne. They have been designing and making cloisonne for decades. It should be said that from the Ming and Qing Dynasties of the Yuan Dynasty to the liberation of China, especially after the market economy, the production skills of cloisonne have been developed by leaps and leaps, and the market share has gradually increased, and our practitioners and design masters have also increased in large quantities. Of course, when the planned economy can not say that he did not play such a big role. The time of planned economy was in 1949 when our country was just liberated. Our arts and crafts industry was not only cloisonne, but also Yanjing eight unique products, which made great contributions to the country's economic construction. It should be said that cloisonne has developed more rapidly in recent years, contributing to major national events, which is one aspect. In addition, the most important thing is that cloisonne has developed from the handicraft of the planned economy to the art, collection, architectural decoration and daily necessities of the people. Through this exhibition, I think we can make our cloisonne production skills to maintain this momentum.

Third, it is my idea as a business manager, whether you are entrepreneurs or masters present here, not to forget the original aspiration, to constantly improve the art and design level of cloisonne. As a manager for so many years, Cloisonne is the same in whatever market sells well and what is popular in the market. Therefore, we must improve our art design level and ensure the quality of art. At the same time on the basis of maintaining the traditional style, the use of traditional elements for modern life to serve, design better and more innovative products. At the same time, we should also combine the market and people's needs to make the design more extensive. Our Minister of Culture said that intangible cultural heritage can build people, buildings and culture. We should inherit and serve today's society. We should speed up the training of talents, so that our intangible cultural heritage can be continuously transmitted and the Cloisonne making technique can be better inherited. It should be said that in recent years, both our enterprise managers and masters have begun to realize this problem, so they have made great progress in product innovation in terms of their inheritance. In the future, in the level of product design art, royal art and contemporary application to make it a better combination, so that the use of Cloisonne Blue more broadened.

Tang Kemei: His speech makes traditional art better serve modern people. Next, let's invite Director Xie Yanhua to give a speech.

Xie Yanhua: I also come from Beijing Arts and Crafts Industry Association. Now I also do some service work for the masters in the Metal Professional Committee. In fact, I have been engaged in cloisonne industry for nearly 40 years. Although I am not an expert master, I do some service work for the expert master. The fact that cloisonne can be regarded as a representative work of traditional Chinese arts and crafts shows that cloisonne is a representative thing of national culture. Although cloisonne was originally an imported product, a product of the integration of the East and the West, it took root and sprouted in our eastern land. It occupied a large position in the royal palace articles of the Ming and Qing Dynasties, and most of them were realized as the furnishings of some royal palaces. After the liberation of the party and the state to cloisonne production skills through vigorous rescue and excavation, now these techniques have been vigorously developed. Over the years, and some practitioners in cloisonne masters have also made some achievements, with the help of enamel is an import now, is a blend of eastern and western culture art, but in the current processing cloisonné. China's domestic level is very high, is the best, should emerge a batch of cloisonne master with a number of outstanding works and help the country some major activities and some national presents many times.

On the inheritance and innovation of cloisonne, actually cloisonne during these years in the field of application, there are part of the attempt and innovation, especially cloisonne combined with construction related, the international council of lake YanQi as ours, Jixian hall. There are some airport in the door handle and heating on the decoration, fully embodies the cloisonne high-end craft, also shows the Chinese traditional culture. It also provides some services for the important traditional Chinese culture and the life of ordinary people, which are some of the innovations of cloisonne in recent years. Now cloisonne is the main problem of inheritance and innovation, talent problem is cloisonne inheritance and innovation of a major power, now everyone here have a lot of master age is high, they as the inheritance of Chinese traditional culture, but they have already done well, but how to attract young people into the arts and crafts industry, as a creator and even producers. It takes a certain amount of attraction.

People in the cloisonne and workmanship industries are not very well paid, either in terms of income or other aspects. If the craftsmanship spirit is to continue to spread and carry forward, we must first solve certain practical problems among them. Regardless of whether it is through our own efforts to go to the market to solve this problem, or the government solves these problems through some policies, in fact, this is a relatively large support for the innovation and development of Cloisonne. Young people are attracted to industrial design, they are also a potential consumer, only let the real potential consumers appear real designers, to meet the needs of the future potential consumers, only they know themselves better. Today, the Silk Road Pearl cloisonne master's innovative works exhibition, on display more than 100 pieces of cloisonne genuine products, from the perspective of cloisonne is really a collection of genuine products, which is rare to see.

With the great development and prosperity of national culture, the development of cloisonne has gradually formed a good situation, which plays a very important role in activating social and cultural life, promoting the construction of spiritual civilization and improving the quality of the people. The development of a country cannot be separated from the strong support of culture. Let practitioners in our industry join hands and take this exhibition as a new starting point to strengthen exchanges and cooperation, enhance friendly exchanges, inherit the traditional culture, and jointly create a better tomorrow for the development of cloisonne business. Finally, I wish the Silk Road Pearl Master Cloisonne's innovative works exhibition a great success. Thank you.

Tang Kemei: Director Xie raised the problem of talents, but I think I am very interested in the director of your metal professional committee, how to solve all aspects of the cloisonne team through your specific organization through your functions. Recently, I have seen several films, " I am crazy for music ", which tells about the composition of the orchestra of the National Center for the Performing Arts, how to ensure its level and how to reach the international level. In this regard, I think the role of a group and an organization is very important.

Mi Zhengxiong: more than 20 masters have shown their good works. I feel that the artistic quality is very high. I listened to the speech of President Chang, holding a book and speaking directly about the art of Dunhuang. I think there is really a lack of criticism of art. There are also some of the master care, I personally feel that some of the master really can create, not management. There is some concern for the masters. Personally, I feel that some masters are really good at creation, but they are not good at management. They are faced with certain difficulties in all aspects of economy. As an individual, because the work is personal, but Director Sheng is concerned about all of us. Once, the vice mayor of Beijing came to me and asked me, "Mr. Mi, what is your problem?" I said, "I can't afford it." He said he would give you some financial aid. I'm going to play the devil's advocate. Everyone is singing the praises of this exhibition. I'm going to play the devil's advocate. As far as I am concerned, there are two small furnaces, but none of my works actually exist. Later, Master Dai told me when he made these furnaces, but he did not know. In such a good scene, every master wanted to show his works to experts. This is my personal opinion.

Tang Kemei: Master Mi raised the criticism of arts and crafts, and the economic contradiction of Master Mi. These are problems that we need to solve together with the government in the future. These are problems of system and mechanism. In the past 30 years, we have trained a lot of theoretical students from the Central Academy of Fine Arts and the China Academy of Art, but they are not staying on our platform. This is a problem of the system and mechanism. It is a very troublesome problem. Now let's welcome President Fan Weimin to speak.

Fan Weimin: Today I'm here as a participating author. I feel very good. In this era, I feel that this meeting should be the inheritance of art. Now it is the first time that cloisonne has been so concentrated. Actually, I am not in this circle. I used to learn how to do work, and I did a lot of it. Now after I retired, I tried to make some cloisonne by myself. Now I started to make ceramics again, in a playful mood, without considering the market. Because now in China it's a matter of aesthetics, like cloisonne or porcelain, sometimes matte is better, but there are some different uses, depending on what you like. As a designer, I have to get it right in practice.

In terms of exhibitions, art criticism is very rare. We should comment all is good, not bad at all. If we don't say it’s good, we'll offend people. There should be an academic criticism. The author who talks about your creation. This is the first exhibition. Just now said that you are the director. No matter it is held every year or every two or three years, this time it is the master's participation. I joined the fun here at invitation. As far as I am concerned, especially the technical aspect should be liberalized.I've come across masters who are conservative, but they don't have to be. What's more important is your artistic ideas, what your personal ideas are. If some artists want to participate in this, it may have an innovative effect on the heritage of our industry.

There were a lot of activities. I went to Limoges in France in 2014.I looked for two days, we should be more than them in all aspects. They have an organization, and there are about 40 organizations. We Chinese are doing so well that we can get organized right away. I hope that through this meeting it should be done and I can help to straighten things out. Chinese culture how to go out, how One Belt And One Road, in fact, at home, is a hundred flowers bloom, a hundred schools of thought contend. If you go abroad, as requested by President Xi, experts will be invited to represent Chinese cultural traditions. This is not a vague thing, not to apply for a grant, but to really represent Chinese culture, Chinese craftsmanship. Some of it is artistic stuff and the craftsmanship is not very good. For so many years, in fact, Chinese arts and crafts are very good. I specialize in sculpture. Sculpture is actually from abroad. It has a relatively scientific system, but the real representative of science, really is our handicraft. Do you graduate from university and put it abroad and then become a foreign work? Impossible. This culture is the Chinese culture, after coming out of the country, all kinds of activities will be held in the domestic, finally really want to represent foreign countries to go out is different. In fact, you do not spend much money to get up, you can put everyone's enthusiasm to continue to create research and development, will have a very good role. I should say that the national art ecology is a problem. How can I make money if those engaged in business or works or academic associations go? You are a teacher and you teach your students well. You are an art gallery and you hold your exhibition well. You are a gallery and how to promote this artist. Why now research and development products can not go down, said that the price is low after the fall, is not this matter, for the quantity is not the same, the process should be reformed. I may make glaze next, but I don't have enough time. How to do this before, now don't say so much, now is to do something on their own.

Dai Jialin: After listening to President Chang's speech just now, I would like to share with you my own feelings. And Ma Min's speech is more practical. She spoke from a young person's perspective. The influence of the Central Academy of Fine Arts is too great. We develop according to its culture. It really depends on you to cultivate what is art and what is beauty. You are 89 years old and still actively go out to carry on, I really thank you. As a master, especially for cloisonne, design is very important, which can be said to be the foundation of a play. Unlike painting kites and facial masks, people look for a egg. Cloisonne is very troublesome, so the design draft someone said to draw a look, I do not like to hear this, what is design? You have to be creative. Where does it come from? It has to be cultural. To express the Dream of Red Mansions, you have to understand the Dream of Red Mansions. Your knowledge should be very broad, and Picasso should study it, both ancient and modern. I also engaged in teaching, my students out of more than 80, and Li Jing and so on, not to say anything else, has been in this position has been insisting, for decades as a day has been research.

As far as design is concerned, the main purpose of young people is to improve their culture. They should read some books. Traditional culture does not even read books. To understand art, what is art, do you understand it, art is aesthetics, do you understand aesthetics, the beauty of this work, many people can not tell. I tell young people that if you are dating someone, you are very sensitive to beauty, and if you have a fat face, you are very sensitive. I want to study this and do it well. Artistic accomplishment is taller, culture is taller, your modelling ability has, stylist can draw. Why do I like cloisonne for decades like a day, if you let me do ring do filament I almost, is not art work to study again, do filament that is also art work, very precious, sell quite expensive. Through our school, through the beautiful things, we have been combining with the production in the factory, in the workshop for decades.

Culture is very important, and I think we're missing that. I always say that there is no culture, especially the master with what money, take what money, no culture no quality, do things do not do well. Regardless of the core of our culture, regardless of the bosses, regardless of the investors, regardless of the leaders of the trade associations, regardless of the educators, we have to stick together.

This is a song I used to write for the guild. Sing industrial industry Song, arm in arm, to the front, we are in the age of skillful craftsman, patriotic dedication unity upward, inspire us high spirit, our hands have infinite strength, hard sweat and flower beds in the industrial, revitalize ancient art youth, let craft flowers blossom, how proud we how glory, united, have the courage to explore, bright future.

We are the pillars of the industrial beauty industry, do a line of love a line, the heart and hand, hand to build a strange skill (sound), the people's life to our point, we are so proud, how glorious, in order to achieve the ideal as soon as possible, hard work in their own positions. We bear the hope of The Times, with full of blood to write a new chapter, let the Chinese culture for the glory of the country, for the international friendship to build a bridge, how proud we are, how glorious, for the beautiful tomorrow, struggle in their own posts. Hand in hand, to the front, we are the craftsmen of the era, patriotic dedication, unity to inspire us to fight high morale, patriotic dedication, unity to guide us to the front.

Ding Minghong: I am very excited, because there are so many teachers and so many experts who have made a lot of insightful expositions and insightful explanations. Let me just say a few words. Innovation lies in learning and laying a solid foundation for traditional culture. If there is no culture for innovation, it may be that trees have no roots and people have no roots. How to learn is to learn the essence of traditional culture and the most exquisite things of traditional culture, keep it in mind to create and change, and combine with The Times.

Secondly, traditional culture also includes the absorption of literature, art and poetry as well as some folk culture and art. In this process, we can enrich our own culture, deepen our cultural connotation and make us become cultural and creative designers.

Thirdly, creativity is the foundation of the arts and crafts industry, and it is the most basic thing of the industry. If we do not do well, it may affect our production and even affect our market. Design masters themselves improve the cultural foundation, to have a better understanding of the craft, to have the understanding and foundation of traditional culture to interpret the content and form of creation we want to create.

Fourthly, we should combine era, this is particularly important, and we see a lot of some of the teacher often works in the great hall of the people, not simply copy the traditional things to the Dunhuang or need lamps and lanterns, but the essence of traditional culture elements and combine with modern aesthetic, an aesthetic sublimation, combined with our time. To this day, some things made in the Great Hall of the People in the 1950s are still classic and still shining. This is why we, as the younger generation, feel that the older generation has given us confidence. Combined with age is very important, it is necessary to combine our culture and the request of the ages, I originally wrote a lot of things, such as blue and white series, I put some ideological content, their own ideas, the interpretation of beauty with cloisonne craft, this form to its cultural connotation and thoughts, let real reiki works, I think the designer really pay attention to this aspect. Pay attention to the perfection of thinking.

Li Jing: I would like to thank the organizers and co-organizers for providing such a good platform for the makers of cloisonne and these masters to display our works. It also enables us to realize our position in the current market. This is a very good thing. We as the designer and manufacturer of cloisonne, of this age has its own responsibility, also have their own bear, we are going to study traditional culture, bring your own students and disciples, the cloisonne career and art inheritance, this is what we want to do, pass on, pass to our spiritual culture, as well as career and skills, thank you very much.

Tang Kemei: Thank you all the experts, scholars and masters who are present today. Today's seminar is very warm. We talked about the journey and achievements of cloisonne over the years, and we also gave many good suggestions on how to maintain the achievements. Due to the problem of time, many comrades did not get the speech. There were 19 comrades present at the meeting today, and 12 comrades made speeches. There will be another opportunity. The conditions here are very good, especially with such an executive director who can take on the role of artistic development. Such a forum is not enough to solve the problems we want to talk about, to solve the problems we want to research. Would you please tell the leaders here to make it a place for academic research and discussion of cloisonne art in the future? It may not be of such a large scale and there may be various forms of it. Ma Min today some of the questions is very important, for example, some comrades propose some of the problems is very important, but to make all the people on how to solve this problem, the formation of some different views or the same opinion, no matter, we know that these problems exist at present, how to solve, you to care about, to solve the problem in China. The government plays a leading role, there are mass organizations, there are masters and so on. These are some of my own ideas and requirements, I will not summarize. You've heard a lot about it, and you've heard a lot about it. Thank you for attending today's meeting.

Zhou Zhengsheng: Thank you leaders, teachers, the seminar is over, please move to the second floor. There will be a dinner.

(The End)