Shandong Rural Handicraft Industry Exhibition Difficult To Hide The Plight Of Survival

Shandong folk handicraft has never entered the media sight like this year.

Early in the Chinese Art Museum sensation exhibition, Shenzhen Expo May wonderful debut.

But whether the glamour in the exhibition can continue in reality? Recently, the reporter has found that after the implementation of many years' productive protection, the rural cultural industry dominated by folk handicrafts has still been faced with heavy problems.

"Heart and blood cannot sell."

Yang Hongwei is the third generation descendant of kite family in Weifang, Shandong.

When the reporter saw her, she was immersed in depicting a colorful butterfly kite.

Such an ordinary kite, which contains more than 60 processes, is all made by hand and can be made in two or three days.

Slow work and meticulous work, Yang Hongwei made kites, smooth lines, bright colors, strong bamboo strips, homogeneous skeleton, it is said that the first class wind can take off, the five stage wind breaks.

When it comes to the question of income, Yang Hongwei feels that something is not satisfactory: "a simple kite is 40 yuan, and a smaller one is 20 yuan."

In many handicraftsmen's eyes, painstaking efforts

In Yangjia port, Yang Chengye, who has made more than 30 years of woodcut New Year pictures, has experienced two more.

It takes about 1 months to engraving a master for making new year pictures, but a new year's picture costs only four or five yuan.

"Although it can be used repeatedly, it is a waste of a month's efforts to get rid of it."

It takes more time and less money to reduce

Wang Fujing, a willow craftsman in Linshu County, has been performing many skills with Shandong's "handicraft and country" exhibition team, and has become a Shandong red wicker.

He told reporters that almost every household in his hometown had the tradition of weaving willow products.

"The average person earns thirty or forty yuan a day from early to late.

My skilled hand can earn more than 1000 yuan a month during slack time.

In rural areas, this income is acceptable.

But Wang Fujing spread out his hands and said that in order to maintain the toughness of the willow, the water needed to be sprayed continuously during the weaving period. The hands were dry and cracked all year round, and the cocoons were thick, and their eyesight was also greatly affected.

"Sample processing" to compress profit space

Low income, hard work and less willing to learn crafts.

"Boys feel that this is not a good idea, and their parents think there is no future.

Cutting is done to cut bamboo slices, sometimes sawing with saws.

Yang Hongwei said.

The decline in the number of craftsmen makes some handicraft manufacturers very headache.

Qiu Bingqiang, general manager of Linshu golden willow company, said that before the countryside, there were many idle people in the countryside, and the company was making a living. Everyone was lining up to grab. Fewer and fewer people are willing to do and can do now, and orders are increasing.

Why not increase the income of the craftsman and enhance the enthusiasm? Qiu Bingqiang said that most of the orders of enterprises are now adopting the sample processing mode, especially foreign orders. "They have designed the style, we provide materials and handcrafts, and after so many years of cooperation, the profit point has been very low.

But when it comes to selling in the market, the price will turn over ten times or even tens of times, and money will be earned by them.

The production mode of Jin Liu company represents the survival state of most handicraft enterprises in the province.

The responsible person of the Provincial Department of Culture said that in the process of helping the inheritors of handicrafts, Shandong gradually explored the mode of "productive protection", but most of the enterprises still stayed in the stage of "others create me to do", and for many years there was still no substantial breakthrough.

It is understood that since 2005, the output value of rural handicraft industry in our province has always ranked second in the country, with nearly 250 thousand employees in the whole province.

In the export of cultural and physical products in the whole province, only about 60% of the export volume of straw and willow products has been around.

The development of the rural cultural industry in Shandong has demonstrative significance in the whole country, but Liu Xianshi, director of the Cultural Industry Department of the Provincial Department of culture, believes that the leading position in the data statistics does not explain the development superiority of the rural cultural industry in our province. The low income leads to a shrinking number of handicraft practitioners. Most enterprises are trapped in the simple low end mode of sample processing for a long time.

A staff member of the provincial reform office said: the rural cultural industry in our province still stays in the stage of simple processing trade, selling handicrafts, creative content is not much, and the rural cultural industry must be pformed in time.

Industry breakthrough requires creative talents

Beginning in 2010, the market demand for domestic willow products has surpassed that for the first time abroad. Many handicraft enterprises have smelled business opportunities, hoping to get out of the simple sample processing era, and inject creativity into their handicrafts, design and manufacture them themselves.

"There are too few creative talents.

Besides, the salary of the designers in the company is much less than that of the front-line workers.

Said a craftsman of the golden willow company.

Pan Lusheng, President of the Shandong arts and crafts academy, told reporters that a willow paper basket and dustpan could only be sold for tens of yuan. But according to the design drawings provided by students of Shandong arts and crafts academy, Wang Fujing made a Tai Chi table chair, which is very popular in foreign markets.

"My idea is to enable students to integrate their rural skills with creativity, and build a rural handicraft brand and a well-known handicraft producer in Shandong through large-scale exhibitions to make the rural handicraft industry bigger and bigger."

Pan Lusheng studied the development of rural cultural industry through the investigation of "handicraft and countryside": "in the past, the creative design of rural handicrafts was embodied in the life experience of craftsmen. Now, with the change of people's production and lifestyle, more fashionable designs are needed.

In order to achieve new life in the predicament and realize effective docking between traditional and modern culture and industry, traditional handicraft needs to keep pace with the new concept of the times and integrate with creativity.

Liu Xianshi also believes that in order to pform the rural cultural industry, we must integrate creativity and create a brand by combining artisans, creatives and businessmen.

Pan Lusheng suggested that in addition to policy support and financial support, it could also try to establish a rural handicraft cooperative in the light of the mode of agricultural cooperatives. The artisans would voluntarily join them, and the cooperatives would provide free technical guidance.

Finally, the product will be put into the market with a unified brand and a unified trademark, so as to reduce the intermediate links and maximize the benefits for the entertainers.

"Only by protecting their enthusiasm can traditional skills continue to be passed on."

At the same time, he also admitted that students' creativity is only "expediency". The real market operation must be completed by enterprises. The pformation of rural cultural industry needs to understand the market and creative design talents, and such talents have been missing for a long time.

(Lin Zhao)