If we say that the Jingcheng Badge Factory was inadvertently injured in the waist, it began to fail.
It is purely a mistake made by history.
Then other traditional arts and crafts manufacturers can't help but leave.
It can only be said that it was deliberately targeted and stumbled by history.
Moreover, when I got up, I stretched my legs and tripped, and when I got up, I tripped! It was an extremely bad situation!
Why do you say that?
Because this is the actual situation.
Although after the founding of the People's Republic of China, the arts and crafts industry in Beijing made real contributions to the national economy.
However, the fate of the entire industry is quite bumpy, and it has been repeatedly teased by history.
When it comes to survival, we have been facing extremely difficult situations.
Not to mention protection and development, it is already very difficult to preserve skills without losing ground.
This is definitely a regrettable incident that makes people quite depressed and helpless when mentioned.
There is no doubt that the arts and crafts industry is the treasure of our country’s traditional culture and art and the accumulation of five thousand years of civilization in our country.
Especially the arts and crafts in Beijing reflect the highest level of arts and crafts in my country because of its unique social environment and strong historical foundation.
This is not nonsense.
From the companion capital of the Liao and Jin Dynasties to the imperial capital "at the feet of the emperor" of the Yuan, Ming and Qing Dynasties.
Governments of successive dynasties recruited a large number of outstanding craftsmen from all over the country to serve in the palace, and established various institutions dedicated to the management and production of arts and crafts.
For example, "Shaofu Jian, Imperial Jian, Manufacturing Office, Ruyi Pavilion" etc.
This has led to the formation of a gathering of famous artists and skilled craftsmen in the capital's arts and crafts, which enables them to learn from the excellent craftsmanship of all ethnic groups and regions.
Only then can we absorb the essence, integrate it and create a unique national traditional craft characteristic of "never getting tired of expensive materials, never getting tired of exquisite workmanship, never getting tired of skillful craftsmanship, and never getting tired of sophisticated products".
Talent is famous both at home and abroad for its unique style, wide variety, exquisite skills, elegant and precious authentic palace art.
It is precisely because of this that the arts and crafts in Beijing have a strong vitality that is completely unmatched by other industries in the previous major social and economic changes, and have survived quite tenaciously.
Like in the Ming and Qing dynasties, although foreign capital invaded.
However, the traditional arts and crafts industry in Beijing has almost never encountered competition from corresponding "foreign goods".
Not only are the production techniques still passed down from generation to generation, but they are also gradually developed due to the needs of export.
Many of the capital's arts and crafts are regarded as treasures with high collection value by foreign art connoisseurs.
Especially after the Revolution of 1911, the maritime ban was greatly lifted.
The arts and crafts in the capital have become highly prized products that foreign countries are competing to buy, and there has even been a scene of "foreign estates".
(Note: Yangzhuang is an institution set up by foreign businessmen in Beijing that specializes in collecting arts and crafts).
According to written records only from the Guangxu Dynasty to the 1920s, no less than 30 expositions were held around the world at that time.
The arts and crafts industry in Beijing only participated in the exhibition ten times, but won gold and silver awards each time.
It can be seen that the arts and crafts in Beijing have always been the pillar industry of Beijing’s economic development.
As early as before the founding of the People's Republic of China, the reputation of "Beijing's work" and "Exquisite work" has been well-known at home and abroad, and has become an invaluable intangible asset of our country and nation.
In the early days of liberation, even if all industries were withered, the arts and crafts industry was still facing a situation where it could not survive.
However, the newly established People's Government conducted a survey on the traditional arts and crafts industry, and the conclusion it reached was very shocking.
The research report at that time stated, “Although there are only 19 special handicraft factories and workshops left in the city, as long as production can be restored to normal levels, more than 10 million U.S. dollars in foreign exchange can be obtained a year. If this amount is used to buy
The food is enough to feed the people of the city for two months."
Sure enough, with the government's strong support, remarkable results have been achieved.
The arts and crafts industry in the capital soon became the "top" export product at that time.
Live up to expectations and start supplying blood to the country.
Until 1953, it only took a few years.
The annual output value of Beijing's arts and crafts industry has increased from US$730,000 in 1949 to more than US$7 million, an increase of nearly ten times, which is very close to the original planning goal.
(The article here has been deleted)
The arts and crafts industry in Beijing, which had just made a splash, has lost sales and has fallen back into a situation of struggling to support itself and stagnating in development.
So on the one hand, the entire industry began to abandon the bourgeois sentiment of noble products and try the practical and popular route.
On the other hand, we have to find other ways of exporting with the help of the government.
Later, with the help of the big brother of the Soviet Union, exports began to shift to Eastern European countries, and the situation gradually began to improve.
It should be said that most of the fraternal countries in the socialist camp are relatively welcoming of ordinary products that follow the popular line in the arts and crafts industry because their economic development is generally not high.
This low-end approach of making small profits but quick turnover is considered relatively successful.
But I never expected that the political situation would change again and the good days would end so suddenly.
(The article here has been deleted)
In 1960, this export route also failed.
The export volume of Beijing's arts and crafts products has been severely reduced again, causing factories to reduce production and workers to switch jobs.
After finally relying on our own strength, we finally turned our export targets to Jordan, Somalia, Sri Lanka, Saudi Arabia and other countries. The time came again in 1966.
(The article here has been deleted)
Since then, the industry has begun to undergo compression and consolidation, resulting in a large number of workers changing production and switching production.
The most common place for workers to abandon their original jobs is to go to electronic device factories.
This bad situation lasted until the early 1970s.
Only then did the arts and crafts industry in Beijing recover from a long drought and receive attention again, and began to shoulder the task of earning foreign exchange and resume export production.
However, many industries and manufacturers have caused serious brain drain, and even the phenomenon of "people die and their skills are lost" has occurred, and it is really difficult to recover as before.
For example, the jade dragonfly of "Dragonfly Jia" has been lost.
For example, almost no one can make the ivory carving "brush wash" and cloisonné industry's "begonia bottle".
But that's nothing.
The most important thing is that in the arts and crafts industry, each relies on its manual skills and bears the same tax burden as modern industrial factories.
Due to the monopoly nature of the export system of handicrafts, manufacturers are not allowed to sell their products on their own, which has also led to serious conflicts between industry and trade.
The foreign trade unit responsible for purchasing and selling, in order to hand over profits to Duochuang, actually tried to strangle the supply unit's neck, and the price offered was too low.
For example, in 1972, the Beijing Arts and Crafts Factory produced the "Shenlu Treasure Chest Bottle", a product that combines multiple raw materials and multiple processes. The factory priced it at 11,000 yuan, but the foreign trade purchase price was only 6,000 yuan.
After many negotiations, the factory demanded at least 8,000 yuan.
Before the price was agreed upon, it was sent to the Huacheng Export Products Fair, referred to as the "Canton Fair".
In the end, the actual sales amount was 27,000 yuan, and only then did Foreign Trade place a purchase order.
This is still true!
Therefore, because this kind of bargaining is so serious, manufacturers have to set two price standards for the same high-end product.
But even so, companies often cannot even reach the lowest price.
For example, Cloisonné's "Plum Blossom Jar" and "Plum Blossom Jar" were exhibited at the 1973 Spring Canton Fair.
The manufacturer charges 300 yuan per pair based on cost plus appropriate profit, but foreign trade is only willing to give 200 yuan.
This immediately caused the newly developed product to be "discounted immediately".
However, the foreign trade price was 600 yuan per pair at the trade fair, and they were successfully sold to foreign businessmen and received large orders.
Think about it, under this purchase and sale model, how can the arts and crafts industry obtain the funds needed for development?
In order to save trouble in foreign trade, they even refuse to accept works with traditional themes.
This has caused many factories to panic.
As a result, at the Canton Fair in the spring of 1978, a traditional work produced by the Beijing Jade Factory in the past - the jadeite "Hua Xun" was sold.
It actually sold for a high price of 700,000 yuan, which is equivalent to exporting 25,000 domestic bicycles or 190,000 Beijing white ducks.
Therefore, the most difficult problem to solve is foreign trade, which takes money when it gets rich, and manufacturers who work hard to show their craftsmanship.
How stringent is it?
You can almost understand it by saying one thing.
For example, when Churchill Jr., the grandson of former British Prime Minister Winston Churchill, visited the Beijing Arts and Crafts Factory in 1973, he was extremely fond of a new cloisonné product, a large bottle.
He immediately asked the people accompanying him to buy this large bottle.
But the factory said it couldn't sell it. Little Churchill didn't understand it and said, "Why can't you sell the things your factory produces?"
The manufacturer explained that the newly developed products were exhibits and could not be sold.
Churchill Jr. said, "New products are also products. Isn't it because the factory is operating to produce products to make money? Isn't it okay for me to pay how much you say?"
The factory declined again and again, but Churchill insisted on buying it.
Frustrated, the manufacturer finally had no choice but to ask its superior company for instructions. The superior company in turn asked its superiors for instructions.
Little Churchill waited from one o'clock in the afternoon until after four o'clock, when the factory was about to close, before he got instructions that he could sell this product. This large cloisonné bottle, about one meter high, had no packaging at all.
In the end, Churchill had to carry it away on his own shoulders, but he repeatedly expressed his gratitude to the factory.
Even after the reform and opening up, some factories open to foreign guests were allowed to set up canteens, but the situation still did not improve much.
Because although the manufacturer only sells products produced and processed by the factory, the commercial department still has to send people to the canteen as salespersons, and cannot go directly to the manufacturer's account.
All products for sale must first go through the merchant's account. The goods are taken out from the factory and the merchant receives the goods. This is the formality.
So, when Ning Weimin and Qiao Wanlin came to other arts and crafts manufacturers.
The scene they face is that these large foreign exchange earners generally live in poverty.
There is no other way. If you pay too much and keep too little, it will naturally lead to a situation where your family has little financial resources, little money, and heavy burdens.
In order to make some living money in their hands, these factories really have no choice but to rely on the foreign trade and commercial departments.
In addition, in terms of production, manufacturers do not like to make high-end products because they suffer too much.
This is normal. Who wants to do this wasted effort to make money and make money?
What's more, if the factory doesn't have money, it won't be able to invest heavily and spend time training successors and researching and developing high-end new products.
Instead of working hard to make good things and cheap foreign trade people, let them eat well and achieve performance goals.
It is better to simply save some effort and produce more mass-market products with low technical requirements and obvious cost advantages. It is more economical to sell domestically.
It also saves existing workers from complaining every day because of poor wages and benefits, and complaining that they are in the wrong profession.
But in fact, it must be said that although these manufacturers in the arts and crafts industry have no money, their real wealth is still very strong.
Because almost every family has something in their library that has been refused acquisition due to restricted subject matter.
Or because the production cost is too high, they can't negotiate a price with foreign trade.
What's more, the city's domestic sales channels are quite limited. The only large-scale arts and crafts store in the capital is the Wangfujing Art and Crafts Service Department.
This results in the types of products that each manufacturer can send for sale being too limited.
Many of the products produced can only be kept in warehouses and sent to stores on a rotating basis.
So it is conceivable that this is something that makes Ning Weimin so beautiful.
This situation is extremely convenient for him to take advantage of.
Don’t forget, he can obtain licenses from the district to seek cooperation with various manufacturers for many products that need to be customized for restaurants.
These seemingly troublesome tasks are handled on a special basis because they must be directly contacted with the manufacturer.
There is no need to consider the opinions of commercial outlets and foreign trade units when negotiating prices.
That is the meat and potatoes that urgent manufacturers are anxious for, which is equivalent to giving them real money.
Can the manufacturer still not welcome him?
What's more, Qiao Wanlin is the head of the service bureau. He can't manage the goods of the commercial system, but the people who manage the commercial system are bad.
Even when they finally pay, they still have to go through the formalization process from the business side.
Those salesmen who sell goods in the factory don't dare to offend Qiao Wanlin and must provide convenience.
Isn't this the right time, the right place, the right people, and all the opportunities come together?
To put it bluntly, it is as if the arts and crafts industry has suffered so many hardships because God deliberately wanted to feed Ning Weimin and caused this situation.
It seems that if he doesn't eat beauty, God will let all manufacturers continue to be unlucky!
ps: Although I had expected the negative review for today's chapter, it is still quite uncomfortable. Such "water" is so difficult to write, much harder than "not water". I feel like I am asking for trouble.
It's like encountering the idiom "buy a casket for a pearl", but after thinking about it, it's okay. Because those people who shout about the main line every day actually don't understand what is called the main line. There are too many such situations in life.
Just like a person I know who spits out the hazelnuts when eating Ferrero Rocher. When children eat dumplings, they only eat the skin and not the filling. Reading a book is a personal feeling and I don't want to interfere. The morality of writing a book also requires my personal awareness.
, only then can you persevere. It doesn’t matter, just let it go.