On July 2nd, the Fangzhuang Shopping Center, which carries the 33 year memory of the Fangzhuang community, made a stunning debut with a brand new appearance as Beijing's first "museum style shopping center". This new commercial landmark, which combines time-honored brands, intangible cultural heritage techniques, and the hustle and bustle of the market, is not only an iterative upgrade of commercial space, but also a vivid practice of traditional culture in the modern commercial context. On the opening day, a "Intangible Cultural Heritage" market was set up on the first floor of the shopping center. A reporter from Beiqing Daily interviewed several invited inheritors of intangible cultural heritage on site, and through their perspectives, they walked into this "living museum" full of warmth and craftsmanship. As a native of old Beijing, Luo Huanwen, who is over 80 years old, has had a special fondness for traditional handicrafts since childhood. Under the guidance of kite artists Guan Baoxiang and Zhao Weizhe, two masters of folk crafts, he systematically studied kite making techniques. Later, he also studied gongbi flowers, birds, and figures through China Broadcasting Correspondence University, laying a solid foundation for kite painting. Flying a kite well requires four essential skills: tying, pasting, painting, and flying. ”Luo Huanwen introduced that kites are like treasures, "The bamboo used to make kites must be selected from green bamboo, and it must be cut by oneself. Sand swallow kites are representative of Beijing kites, and they can be made in a series, among which the" fat swallow "is cute and the" couple swallow "symbolizes flying together. ”The couple's swallow kite is two kites stacked together, with two prominent red hearts in the middle. Mr. Luo Huanwen is very serious. His stall is not only filled with kites suitable for leisure and play for people to buy, but also brings seven or eight large kites of museum collection level. That big fat swallow is also collected by the National Art Museum of China. Luo Huanwen said, "The selling price of this fat swallow is 4000 yuan." Nowadays, Luo Huanwen's home has two to three hundred kites he made, stored in more than ten large camphor wood boxes. The largest kite in my house is over two meters tall and occupies a wall, "said Luo Huanwen." Kites are not only toys, but also carriers of traditional culture. I hope to use the platform of Fangzhuang Shopping Center to let more people understand kite culture and fall in love with this ancient technique. As we chatted, Lin Aixing spoke with a strong Beijing flavor: "I learned from the master craftsman Shuang Qixiang and am the inheritor of colored sculpture face masks and Rabbit God." "Rabbit God, as a unique cultural symbol of Beijing, has been passed down from the late Ming Dynasty to the present day. During the Qing Dynasty, it flourished because Emperor Qianlong was born in the Year of the Rabbit. In the 1980s, it was restored and inherited by my master Shuang Qixiang. Our works are all handmade and we never cut corners. ”Lin Aixing pointed to the Rabbit God he was drawing in his hand and said that it was a "continuous ascent", composed of lotus and deer shapes, symbolizing a smooth career. On the other side of the stall, there are also many well made bunnies, known as "Golden and Jade Full Hall" bunnies, with fish shapes representing abundance; The Rabbit God holding a pestle represents peace and health, and its style originated from a pattern that was passed down to Japan during the Daoguang period of the Qing Dynasty. There are still some semi-finished products on the stall. Lin Aixing said that there are many processes involved in making Rabbit Grandpa, which require first making the embryo, then carefully drawing it, and painting it after powder coating. It is very laborious. "Although it is small, the content is very rich, and it is rare outside. Moreover, it takes a lot of labor and time to make. For example, this' continuously rising 'product costs more than 300 yuan, which is far from enough for a day's wages. But this is the cultural root of old Beijing, and we must persist no matter how difficult it is. ”Facial makeup is also a masterpiece of craftsmanship. The Mu Guiying facial makeup used on stage is the most precious, and it stands out prominently on the booth. Lin Aixing said, "Some of its materials are real silk, and the bottom is also handmade. The jade picking process on top used to be done with emerald feathers, but now we have replaced it with blue silk, which not only retains the traditional charm but also conforms to environmental protection concepts." A book on the booth, the only millennium code of female characters in the world of women's calligraphy, attracted many people to stop and read, with a blue cover and the title of "Women's Calligraphy Standard Character Calligraphy Calligraphy". Originally, this is the women's script known as the "only female script in the world", which has been passed down in the Xiaoshui River basin of Jiangyong, Hunan and has been included in China's first batch of intangible cultural heritage list. Women's script is a gender variant of square Chinese characters, which is a fusion product of Confucian culture in the Central Plains and ethnic culture in the south. It records Chinese dialects, with a tilted font in the shape of a "multiple" character, written from the top right corner to the bottom left corner. The traditional hard pen writing of women's calligraphy is like falling snowflakes, while modern successors use a brush to write, with each stroke resembling a willow leaf. The core carrier of women's script culture is the "Three Dynasties Script" cultural brand. Tian Jian, a staff member of Three Dynasties Script, introduced that "Three Dynasties Script is also a pure handmade notebook that women give to each other before their girlfriends get married. It is written in women's script with seven or five character" biographies ", which can be recited and sung, accompanying women throughout their lives. ”Now, the "Women's Book Dictionary" compiled by Professor Zhao Liming of Tsinghua University has been printed for the eighth time, and women's book culture is entering the public in a new way. In areas where the female script is widely circulated, women who are proficient in it are called 'noble women', representing talent, education, and upbringing. ”Tian Jian introduced that women's calligraphy is mainly passed down through family traditions, private schools, self-study, and other means. Although it is less than 400 basic words, it can complete various contents such as autobiography, letters, folk songs, and sacrifices, and has high academic value: "Ji Xianlin and Mr. Zhou Youguang have both written recommendation letters to the World Memory Heritage. Women's calligraphy is a precious heritage of humanity and a series of questions that need to be further studied." At the booth, an open fan was particularly eye-catching, with two lines of women's calligraphy written on it. Tian Jian held the fan and recited, "If there is wind, there will be no wind; if there is no wind, there will be wind." It turned out that this was a riddle, a riddle. The bottom is a fan. Tian Jian said, "Women's calligraphy is not only a form of writing, but also an expression of women's wisdom and emotions. We hope more people can understand this unique cultural heritage." The millennium craftsmanship of filigree inlay in the Forbidden City originated in the Spring and Autumn Period and the Warring States Period, developed in the Tang and Song Dynasties, and reached its peak in the Ming and Qing Dynasties. It combines both filigree and inlay techniques and is one of the oldest exquisite crafts in China, as well as a traditional Forbidden City craft. ”Feng Yonggang, a craftsman specializing in filigree inlay, pointed to the works on the exhibition stand and introduced them. Feng Yonggang said that he switched to the filigree inlay industry midway and has been in the industry for more than ten years. He has loved making handicrafts since he was young, and when he grew up, he almost played with all kinds of handicrafts in our country. "He has done seal carving, wood carving, and so on, but when it comes to filigree inlay, I stopped for a moment because he couldn't fully study it in the field of precision craftsmanship, and not only the filigree, but also the inlay." A double dragon playing pearl bracelet was Feng Yonggang's first filigree inlay work, which took him 12 days to complete at that time. He said, "Making flowers and butterflies with filigree inlay is relatively easy, but making dragons is the most difficult. This dragon is in the shape of a dragon from the Qing Dynasty, which is different from dragons from other dynasties. The Qing Dynasty looks more domineering, while the Ming Dynasty looks more majestic." Feng Yonggang brought a full stall of filigree inlay works to the market, and each piece was extremely exquisite. Some also used the technique of dotting, ordering parrot feathers. Parrots are raised by themselves. "We wait for them to shed their feathers, and then collect them to make them." Feng Yonggang said that the Beijing style filigree can be made into three-dimensional shapes, such as Ruyi Lock, Fulu and other silver gilded works. Their brand name is Bai Haitang, and they also pioneered 18k gold. Flower thread inlay. In this fast-paced era, Feng Yonggang said that he rarely looks at his phone and spends most of his time immersed in handmade crafts. "Every piece of work with filigree inlay embodies hard work, and I hope to let more people know about this ancient and exquisite technique through Fangzhuang Shopping Center." Yang Ailing, the third generation descendant of the old Beijing wisdom Beijing Mao Hou Li in the waste of Mao Hou Li, was also present at the scene. She is 72 years old this year and has already had a fourth generation descendant, her son Li Qiang, who is 44 years old this year. "There is a successor, I can rest assured. The works of Mao Monkey on the booth were all made by Yang Ailing and her son, who have a Mao Monkey production studio. The main raw materials we use are cicada molt and magnolia, as well as a lot of waste from daily life. Through processes such as sticking, pasting, and shaping, we create a series of story scenes. In the production process, we need to use creativity and inspiration, such as using red double happiness candy paper to make the cover and small hat. Sometimes it takes several hours to stick a hairy monkey, and now the weather is humid, and the glue is even harder to dry. ”Yang Ailing said that the glue used by her family to make hairy monkeys is environmentally friendly and handmade, so it cannot be compared with mechanization. At present, there is still a market for sales. People who like it are not too expensive, and those who don't like it don't need to give it away for free. ”Yang Ailing smiled and said that they mainly promote the culture of hairy monkeys and showcase the wisdom of the older generation. We hope that through the platform of Fangzhuang Shopping Center, more people, especially young people, can learn about the craftsmanship of hairy monkeys and pass on this traditional skill. As a state-owned enterprise rooted in Fangzhuang for 33 years, Fangzhuang Shopping Center responds to the call for urban renewal and deeply integrates into Fengtai District's "Double Pursuit and Cooperative Development" and Fangzhuang's high-quality business district revitalization plan. Their transformation not only brings consumers a brand new shopping experience, but also builds a platform for the integration of intangible cultural heritage inheritance and modern business. Here, the hustle and bustle of the city and cultural heritage blend and coexist, creating a 'living museum' together. As a inheritor of intangible cultural heritage said, "Fanggou is not only a shopping center, but also a cultural living room, giving us the opportunity to showcase the wisdom and skills of our ancestors to more people. This is our responsibility and honor as inheritors." At the event, the person in charge of Fangzhuang Shopping Center also stated that in the future, we will continue to introduce the concept of museums, create a three-level immersive flow that runs through the cultural heritage, intangible cultural heritage skills, and stories of old brands in Fengtai, integrate intangible cultural heritage skills and innovative products of old brands into consumer scenes, and build a living space of "seeing people, seeing things, and seeing life". (New Society)