China News Service, Taiyuan, June 25th: "Gen Z" girls from the Liuli family: innovation in inheritance
Author Gao Yuqing
"I would like to be a firefly of inheritance and innovation, and let the glaze shine forever." The "post-95" girl Zhang Junliang not only loves beauty and wear, but also loves traditional culture. To outsiders, she is boring and has no "money way". "Liu Li career" has now become her preference.
In the midsummer season, on the east mountain of Taiyuan, Shanxi Province, in an alley surrounded by residential quarters, there is a studio with dozens of square meters hidden.
In today's China, more and more "Gen Z" are willing to enter the "intangible cultural heritage world". They not only want to "take a look", but also "learn a lesson", and finally publish the results on the Internet through short videos. show".
When traditional "old craftsmanship" meets "new craftsman", what kind of sparks will emerge?
In the midsummer season, on the east mountain of Taiyuan, Shanxi Province, in the alley surrounded by residential quarters, there is a studio of dozens of square meters, and each piece of exquisite glazed crafts is born from here.
With long black hair and a shawl, she was wearing a white shirt with a Chinese collar and a light blue long skirt. When the reporter saw Zhang Junliang, she was sitting in front of the workbench, leaning forward slightly, and using a tool to spread the thread on the blank.
Inside the studio.
Photo by Gao Yuqing
For "new craftsman" Zhang Junliang, stepping into the "non-genetic inheritance path" is accidental and inevitable.
Zhang Junliang was born in 1998. Her grandfather, Ge Yuanyuan, is the representative inheritor of the glazed firing technique of the national intangible cultural heritage project, and also the seventh-generation inheritor of the Su family glazed glass.
Growing up in her grandfather's home, she developed a strong interest in Liuli.
Glazed glass is known as the first of the five famous artifacts in China. In ancient times, from the imperial gardens, temples and palaces, to the small statues on the shadow wall and the ornaments of the study, it was indispensable to decorate the glass.
Shanxi is the "Hometown of Chinese Glazed Art". The Su's Glazed Glaze, which Zhang Junliang learned and inherited, is the main representative of Shanxi Glazed Glaze.
During the reign of Emperor Jiaqing of the Qing Dynasty, Su's Liuli was also the base for the supply of tiles designated by the Imperial Palace in Beijing.
The picture shows Ge Yuanyuan, the representative inheritor of the glazed firing technique of the national intangible cultural heritage project.
Photo by Gao Yuqing
After graduating from university in 2020, Zhang Junliang returned to her hometown of Shanxi, joined the "Liu Li Team", and officially learned the technique of Liu Li from her grandfather.
"We worked together every day, and he personally answered my questions, big and small."
Painting skills, animation major, family inheritance... These have all become "plus points" for Zhang Junliang's "non-genetic inheritance".
At the same time, as a "Generation Z", she also uses the Internet to "post" the daily routine of making Liuli on her social media platform.
Because she is immersed in the "glass world" most of the time, Zhang Junliang often forgets to record new videos, attracting many netizens who pay attention to her to "urge more".
Zhang Junliang is draining the raw embryo.
Photo by Gao Yuqing
In order to attract more young people to pay attention to Liuli, Zhang Junliang constantly explores the integration of tradition and modernity, and has designed and developed a series of cultural and creative products of Liuli, including vase ornaments, stationery supplies, small toys, etc., to give new vitality to old objects.
On the shelf in the studio, small and exquisite embroidered piers with bright colors attracted the attention of reporters.
"The embroidered pier used to be used for sitting, but we combined Shanxi elements to turn it into a handicraft that can be played with." Zhang Junliang introduced that the "Kong Fangxiong" in the middle of the embroidered pier has the meaning of "bulging up", representing "purse" Drum up", which can be used as a paperweight and favorite ornament in the study, and is very popular among young people.
Zhang Junliang and her friends are discussing the design plan.
Photo by Gao Yuqing
Zhang Junliang also boldly tried to innovate, using red, which is usually used as an embellishment, as one of the main colors.
"I made a jade pot and spring bottle. The theme is a wedding scene with Shanxi folk customs. The red color is used in this work to reflect this festive picture."
Zhang Junliang has always regarded her grandfather as her life idol.
"Grandpa spent nearly 30 years reviving the 'Peacock Blue', which was lost in the Su family's colored glaze for a century, and passed it back to the descendants of the Su family without reservation. I admire her attitude very much." Zhang Junliang always takes pride in talking about this matter.
The picture shows some of the works completed by Zhang Junliang.
Photo by Gao Yuqing
In Zhang Junliang's view, as the intangible inheritor of the younger generation, what is most needed is a "hold on" perseverance.
With the admiration of her grandfather and her love for Liuli, Zhang Junliang hopes to be a "craftsman" of Liuli art, so that traditional culture can be favored by more young people.
(Finish)