Accidentally brushed the Vietnamese MV today, exclaimed - they are good to play now!
In particular, there is a MV called "Self-Heart", which has a high number of broadcasts on the Internet.
The neat erhu opening made many people head on.
The king is high, the thoughtful concubine, and the masked musician, and the narrative atmosphere is like a tight string.
The next second, Wang drew his sword and killed the musician, because the musician and the princess had a love vein.
The next second, it becomes a beauty.
To sum up, the king of Ha killed the princess's lover, and the king fell in love with the princess's lover.
Some people say that this is the plot that Yu Zheng + Guo Jingming can only come up with.
It does look good, with 30 episodes in eight minutes.
The ancient customs of Vietnam in recent years have always been "in progress".
Before imitating the "Biography of Zhen Huan", "The Legend of Wu Meiniang" and other domestic palace fights, the painting style is very mudslide.
Many elements in today's MVs can actually see the mixture of Vietnamese culture, and there are also shadows of Chinese culture.
Including some other MVs, there are also heavy traces of imitation.
Because of historical reasons, the brilliant light of Chinese culture not only hangs over our homeland, but also has an impact on neighboring countries.
Some time ago, I found that the Chinese uncle's bamboo weaving craft caused shock on overseas websites, and it turned out that the craft could be made like this.
Netizens praised this as the real craftsman.
In fact, it is not only bamboo weaving, but also too many amazing chinese craftsmanship.
There was a man named Zhang Jing, using a 10-year-old broken car and two second-hand cameras.
Traveled to 23 provinces, visited 199 craftsmen, and recorded 144 traditional handicrafts that were on the verge of being lost.
With "Looking for a Craft", a documentary that looks like it is "losing money", it came out.
After all, it is "losing money", so the director also sold a suite.
The first was rejected by more than 20 TV stations, and director Zhang Jing had to produce it himself.
Unexpectedly, it was recognized by more than 300,000 people, which led to the 2.0 and 3.0 versions of poverty.
The director was about to lose his temper and decided to make a commercial film, but halfway there he received a call from the sponsor.
That's why there's a fourth part.
To tell the truth, the fourth part is also a dusty one.
Most of the artists who appear on camera live a very poor life, using worn out utensils and sticking to it day after day.
Most of those craftsmen are already full of frost, and some are already 80 years old.
If you don't shoot them again, you may really wither away with time.
If they don't shoot again, they can't wait
Zhang Hongchang, the last hand-made ink maker in the ink factory.
He demonstrated the craft of ink making in front of the camera.
The cowhide is boiled in a pot for two days, and the ash from the pine tree is added and kneaded into pine ink.
This is followed by a pounding that takes several hours, and then the weight of a piece of ink is divided, and the small bubbles inside are punched out and molded in the mold.
This piece of ink was delivered to a knowledgeable person, and for the first time, the ink was appreciated like a jewel.
The fly in the ointment is that there are still small bubbles in Murray that have not been removed.
Why, because ink making is a hard work, the old man's physical strength is not as good as before.
In the process of making ink, the old man changed four pieces of clothing, whether it was mental strength or physical strength is not as good as before.
The kiln that needs to be used for the material of making ink, pine smoke, is basically no one will make.
The ink-making workshop has also been extinguished for more than forty years for various reasons.
Zhang Hongchang, an old man who made ink, had the same encounter, and there was also the traditional craft "Cloth Bag Play" in Shaoyang Bird's Nest Ridge, Hunan Province.
Budai opera is a kind of folk opera performance that originated in Quanzhou, Fujian, China in the 17th century, and is one of the most commonly seen Han folk opera performances.
Liu Yong'an is the only remaining cloth bag opera craftsman in the village.
Knowing that the director was going to shoot him, he was afraid of falling behind all the performance shots
A full play is performed for nearly seventy minutes, and the old man is divided into several roles, including blowing and playing.
After the play, the old man was silent for a long time.
Like the folk chanting in "A Hundred Birds and a Phoenix", the cloth bag drama has declined and can never go back to the past.
On a hillside in another place, the audience for a shadow puppet show was less than ten people.
The light is dim, and the shadow in front of the curtain makes this craft even more lonely.
Perhaps, with another turn, I can't wait.
The old man Who appeared in the first film, Canwin, who is the maker of the traditional handmade oil umbrella.
The other three old men in the village who could make handmade oil-paper umbrellas have all died, and only the old man of Canwyn can make such umbrellas.
The whole process of making the umbrella is handmade, including springs, as well as pigments, and the umbrella made by the old man is tightly sewn, which is out of print.
Because of the difficulty and time-consuming time, the old man did it eight times when there was a process to succeed.
The first time the line was broken, Zhang Jing almost laughed until the sixth, eighth... "My tears are about to fall."
The old man was 80 years old at the time, and after completing a program, he sat silently by the wall and rested.
His mouth was crooked, and his body was slumped, but he did what he liked over and over again and did not dare to slacken off.
Two years later, the old man died, a practice that would not be practiced by the locals.
Do it for the rest of your life
Most of the people who do these crafts do this one thing all their lives.
Because of their dedication, most of them have taken this craft to the extreme.
Just pounding, doing, grinding, man and craftsmanship in one.
Because of proficiency, there is no need to use tools, and you can make exquisite instruments based on feeling alone.
Lao Yang is an iron maker, this craft is too hard, every day is ten hours, so no one does it.
Knowing that the director was coming, Lao Yang solemnly asked the director to shoot him well.
He got up and looked at the camera solemnly, and the confidence in his craft was respected.
Once he picked up the hammer and began to strike iron, Lao Yang's whole body was full of spirit.
"Seeing that fire, this looks good."
Later, an artist bought 108 sets of knives from Lao Yang, because Lao Yang reminded him of his father and saw China.
Being a tin smith is also a hard job, and the tin maker Liu Kongzhong has been doing it for more than fifty years.
Throughout, this craft requires endurance and care.
A tin pot needs to melt the tin into a tin plate, then collage and pound, and the place where it fits must be patiently re-cast to be perfect.
Such a slow pace, poverty is predictable.
There are also people who can't sell their bowls because they can't open them for many years.
There are also people who "preemptively attack" in the face of the expansion of industrialization.
For example, Wei Jinjun, a craftsman who made "god code", took the lead in using machines to create god codes, but instead let the god code technology be preserved.
The Divine Code, commonly known as the Divine Code, is a kind of woodblock Printed New Year painting that is engraved and printed by hand.
It is mainly used in Neiqiu County and the surrounding hundreds of miles of urban and rural areas, and is posted in the original location for worship during the New Year's Festival.
Shen Code is also known as "the living fossil of Chinese woodblock prints" because of its unique quaint temperament.
In 2008, Wei Jinjun was approved as the representative inheritor of the Neiqiu Shenma of the Intangible Cultural Heritage of Hebei Province.
He began to learn the divine code from junior high school, and he mastered the technology of engraving and printing, from the god of vesta, the god of doors, and then to the god of locomotives in the new era.
Woodcut is 10 yuan a piece, machine printing is 2 mao a piece, but because of the merits of the machine, this business has a big market, so that the god code culture has been handed down.
Silence should not be their destination
The birth process of this documentary is also very much like a "craft work".
Before the director made the documentary, there were two houses in Beijing with an annual income of 300,000 or 400,000 yuan.
However, he felt like a loose slipper, rubbing against reality every day.
Only when you fall asleep late at night can you have a fragment of your own fantasy.
In the shooting, the focus of the craftsmen and the peace of day after day dissolve a lot of utilitarian things.
For example, many of these craftsmen do this purely out of love.
There is a Central American artist Shen Yongquan, who has been doing the wrong gold and silver for more than 2,000 thousand years.
Wrong gold and silver is one of the fine craftsmanship techniques of Chinese metal decoration, a fine craft of the Chinese Bronze Age, and now one of the national intangible cultural heritage.
The wrong gold and silver technique is very elaborate, and the craftsman must first carve the necessary grooves such as patterns and inscriptions on the surface of the bronze.
Gold or silver filaments are then embedded.
Then the pounding is strong, so that the two are closely linked, and sometimes he smashes a detail and pounds for an hour.
Shen Yongqian did this out of his own pocket, that is, he was at his own risk.
Doing the wrong gold and silver, out of love.
Shen Yongqian usually takes on some sculptures and small projects to make a living.
His works are very brilliant and expensive, but his life is so poor.
The final encounter of this documentary is also like these niche crafts, which can only be produced and sold by themselves.
The disappearance of every craft is the disappearance of a small museum.
If they are not given a certain amount of attention now, the silence that comes out when they lose will not seem sincere enough.
Speaking of which, the spirit of Craftsmanship in Japan has always been well known and has become a cultural symbol.
In fact, the craftsmen of our country are not spared.
But their respect for craftsmanship and culture makes craftsmen live with dignity.
Japan's protection of traditional culture has always been at the forefront of the world, especially the recognition of "national treasures on earth".
"National treasures on earth" refers to artists who are identified as protectors of important intangible cultural properties, who have "special skills" in craft technology or performing arts.
As long as he is recognized by the state, the state will allocate special funds to record his art, preserve his works, fund him to pass on his skills, cultivate people, and even help him improve his life and artistic conditions.
These regulations are derived from their Law on the Protection of Cultural Property, which has even been borrowed by the United Nations.
Japanese technical schools also pay attention to educating students about professional ethics and professionalism.
In this way, students will also have great respect for their craft and can stick to it even if there are obstacles.
The appreciation and heartfelt respect of the whole people for utensils also allow all kinds of craftsmen to pursue their dreams safely.
Their respect and protection of the craftsmen makes the whole cultural atmosphere feel inseparable.
Craftsmen do not need to be the shadows of the times, but can boldly stick to their dreams.
And we don't have to envy our neighbors, what we need to do is "take pity on the people in front of us."
Everyone who guards the moonlight overhead deserves their sixpence!