Xu Jiaqian, researcher-level senior arts and crafts designer, Suzhou Ming-style furniture production technology inheritor. In 1973, Xu Jiaqian, who just graduated from high school, entered the Suzhou Redwood Carving Factory. At that time, he did not know which wood was the mahogany. After nearly 40 years of continuous exploration and practice, he finally turned from a young man who knows nothing to an excellent master. Nowadays, he is not limited to design, but focuses on the inheritance and development of Ming style furniture. Recently, the reporter specifically visited him and asked him to talk about the inheritance and development of Ming style furniture.
Reporter: Xu factory director, first of all, please introduce us to introduce the history of Soviet-style furniture.
Xu Jiaqian: Suzhou area is the main source of Ming-style furniture in China. After the middle of the Qing Dynasty, “Qing-style†furniture was widely circulated and prevailed, but Su-style furniture always followed the fine tradition of “Ming-style†and maintained “Ming-styleâ€. "The consistent practice and style." Therefore, many people often regard the “Su-style†as “Ming-styleâ€. Su-style furniture is the most prosperous in the Ming and Qing Dynasties.
Here, we must distinguish between "Su Zuo Furniture" and "Su-style furniture", many people will confuse these two concepts. “Su Zuo Furniture†is a piece of furniture made by Suzhou craftsmanship. The focus is on the craftsmanship. It is specifically the furniture made with Suzhou technology. “Su-style furniture†is distinguished from other furniture by appearance. Su-style furniture is characterized by simple lines and fine workmanship.
Reporter: You just mentioned that as the intangible cultural heritage “Su Zuo Furnitureâ€, the most important thing is the inheritance of craftsmanship. Then what do you think about the lack of technology in the production of Soviet-style furniture?
Xu Jiaqian: There are many reasons for this. First of all, I think that many young people are not willing to come to study. Most of them think that there is no future for this industry. Skilled and skilled teachers are older, and no apprentice can be a teacher. This has led to a phenomenon of “green and yellowâ€, and the technology has no inheritors. Secondly, there are very few local Suzhou people who learn Su-style furniture technology. More and more foreign carpentry personnel come to Suzhou. They don’t understand Su Zuo furniture technology, so they will bring other places of technology to Suzhou to make "It is not pure." Then there are a lot of laymen, such as wealthy people like real estate bosses, who buy a lot because they like mahogany. But neither knowing mahogany nor knowing Su Zuo technology, what is made is not the "Su-style furniture" in the true sense, but it has occupied most of the mahogany furniture market in Suzhou.
Reporter: We know that with the creation of furniture manufacturing machinery, many mahogany factories have replaced labor with machinery. What do you think of this problem?
Xu Jiaqian: Mechanical processing can enter the production of Su Zuo furniture. However, I believe that it can only be used in the preliminary work of furniture production, such as cutting, drilling, etc., which require higher precision. However, in the core technology structure, we must adhere to labor. Today's Su-style furniture is roughly divided into two types, one for collection and two for civilian use. The Su-style furniture used for collection must be high imitation goods, so the requirements for the production process are very high, and it must be the real Su-made technology, so the high imitation furniture can not be machine-carved. The ordinary civilian Su-style furniture, because it is relatively large, is relatively cheap, so the technical requirements are not so high, you can use machine carving. However, I still emphasize that the Soviet-style furniture should still be based on hand-carving, in order to achieve true inheritance.
Reporter: What is your opinion on the status quo of Soviet furniture?
Xu Jiaqian: First, the most important thing in the production of Su-style furniture is the need for designers. Designers must be comprehensive and comprehensive. Nowadays, young people are better than our time, formal basic study and painting, and they have definitely learned in school, but when they are a mahogany furniture designer, they still need to learn traditional culture and traditional crafts. Therefore, it is very costly to develop a design talent. The investment is too big, leading to the lack of designers, which is a very regrettable thing. The second is the comfort of mahogany furniture, which is much worse than the sofa. This is why many young people are reluctant to buy mahogany furniture. In their impression, mahogany furniture is hard and uncomfortable. This is also the problem that I have been trying to solve so many times. How can mahogany furniture fit the structure of the human body, how can people feel comfortable.
Reporter: How to inherit and develop Ming style furniture?
Xu Jiaqian: There are two teams in our factory, one inheritance team and one production popularization team. The inheritance team is to study from the production technology of Soviet furniture. The main task of production popularization is production promotion, and then all the money we have invested in our R&D team, so that we can develop independently. Although the funds are limited, we will not give up. In addition, we will collect Su-style furniture from Ming and Qing Dynasties, collect information on Su-style furniture, photos, techniques, etc., and compile them into a booklet so that others can learn.
Reporter: We know that with the creation of furniture manufacturing machinery, many mahogany factories have replaced labor with machinery. What do you think of this problem?
Xu Jiaqian: Using mechanical processing, saving labor, reducing production costs, making the mahogany furniture brand into the ordinary people has become a reality, it should be promoted. However, I believe that only in the pre-production process of furniture production, such as the process of opening materials, ingredients, and drilling, the precision of such processed products is relatively high. However, in order to maintain the traditional craft, it is still done by hand. The current "Su-style furniture" is roughly divided into two forms, one for collection purposes and for viewing purposes; the other for daily use. The collection of mahogany furniture is a high imitation, so the requirements for the production process are higher, and it must be a true traditional craftsmanship. The resulting furniture has a large value-for-money appreciation space (mainly in recent years, the production is artificially increased by 15 - 20%) Therefore, high imitation furniture should be based on hand-made. The common general use of mahogany furniture, because it is a small batch production, the processing of the ingredients is larger, relatively cheaper. However, I think what we are going to study is how traditional craftsmanship can be adapted to modern machines and equipment. How can traditional structures be machine-made without changing their original flavor? Rather than improving the structure of the crucible into a flaw that is easy to machine. In this way, we can achieve the true meaning of inheritance.
Reporter: What is your opinion on the status quo of Soviet furniture?
Xu Jiaqian: There are two reasons for this. First, the most important thing in the production of Su-style furniture is the need for designers. Designers must be comprehensive talents. Nowadays, young people are better than us at that time. They have formal basic study and painting. They have definitely learned in school, but as a mahogany furniture designer, they still need to learn traditional culture and traditional crafts. Just like the principle of learning Chinese painting, "the ancients, the teacher made". Therefore, it is very expensive to develop a design talent. The investment is too big (mainly economically and in time). After I entered the factory and sent to the design room, I spent more than three years working in the workshop to learn the life, learning the paint, wood and carving, and understanding the whole process of furniture making; For a year and a half, under the guidance of Mr. Yan Anguo, the dilapidated traditional garden furniture stored in the West Garden of Suzhou was measured and collected; it took three years to go to university. In order to master this skill. The second is the comfort of mahogany furniture, which is a lot worse than sofas. This is also the reason why many young people are reluctant to buy mahogany furniture (think old style, no modern atmosphere, lack of comfort). In their impression, mahogany furniture is hard and it is very uncomfortable to sit on. This is also a problem that should be solved. How can mahogany furniture fit the structure of the human body, how can people feel comfortable, this is also the subject of research. However, I think that the traditional furniture production in Suzhou area still has its own characteristics. It is that the designers and producers draw on the strengths of the styling and gather the advantages of each genre for their own use. As long as the production skills are passed down, after refinement, development and innovation, it will form a new "modern Su-style furniture" style that young people like.
Reporter: How to inherit and develop "Ming-style furniture"?
Xu Jiaqian: The inheritance, development and innovation of the production technology of “Ming-style furniture†depends on the efforts of the redwood industry in Suzhou, and it is not going to happen overnight. In recent years, it should be said that “Su-style furniture†(exactly “Su Zuo Furnitureâ€) has achieved unprecedented development. At present, there are hundreds of large and small mahogany furniture factories in Suzhou. It is particularly gratifying that under the guidance of the Suzhou Furniture Association, the mahogany furniture industry in the region has joined forces and complemented the skills, and established a folk academic institution specializing in the production of “Su-style furnitureâ€â€”Su Zuo Hongmu Furniture Professional Committee The theoretical improvement of the technical personnel in this industry has broken through the situation that there are few professional technicians in the mahogany furniture industry. For the inheritance, development and innovation of the traditional "Su Zuo Furniture", we need the researchers and designers and producers of our traditional furniture industry to work together, and as the birthplace of "Su Zuo Furniture", how to put "Ming-style furniture" Our precious heritage is carried forward and infused with new characteristics of the times. Our generation has an unshirkable historical responsibility.
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