Hard Work Rewarded
Cao insists that he is an ordinary person of no extraordinary talents. He is adamant that if someone wants to achieve something, he must work hard.
Owing to his lack of systematic theory training, Cao puts a premium on self-study, and has bought various books on theories of painting and design. He also attaches importance to observances of life. He still has a vivid memory in that connection. “Once I engraved an eagle on an inkslab. The supervisor responsible for quality inspection pointed out that the eagle’s wings were not coordinated. He suggested that I observe flying eagles,” Cao said. Standing on a laundry stone at the riverside, he indeed studied the wing motions of eagles in flight. Based on these observations, he modified the carving, making it more vivid and lifelike than his first attempt. “All engraving works are based on life, so observation is vital to succeed in the craft. For example, the shapes of bamboo leaves differ in wind and in calm air. You can perceive this only by careful observation,” Cao said.
From the initial basic lines to complicated patterns, like figures and landscapes, Cao’s inkslab carving skills improved dramatically during the decade after he started work at the factory. His colleagues all admired his work. “As of 1983, my works became inspection-exempt products. Soon after gaining the factory leaders’ recognition, I was transferred to the product design team,” Cao said.
Cao was then not only designing but also responsible for making sample ink- slabs to send to clients. After confirmation, workers used these sample slabs as templates. Mass production followed. “Later I became a plant director, and then transferred to the production section,” Cao said.
Content to Instruct
The late 1990s witnessed massive restructuring and transition of multitudes of state-owned enterprises in China. To become more competitive and profitable, the She Inkslab Factory merged with the Hui Inkstick Factory of Shexian county. Most old inkslab factory workers either left, changed to other occupations or ran their own small inkslab businesses. At that time, Cao was the most experienced veteran in the factory. He, however, chose to stay.
The idea of becoming a sole trader had occurred to Cao, but after consideration, he rejected it. He realized that starting a business meant paying attention to details like operation, sales and the market. “I’m a craftsman, not a businessman. So my job is to produce good handicrafts. Besides, I think making the whole industry prosper relies on a collective force,” Cao said.
“The factory needed new workers. By staying here, I could train apprentices and pass my craft and skills on to new craftsmen. The factory has provided me with the scope to do that,” Cao said. Although many senior inkslab craftsmen have established individual workshops and prospered, Cao has never regretted his choice. “I’m adept at inkslab making, not trade. I’m just an ordinary person,” he said.
After the restructuring period, Cao was appointed vice director of the factory responsible for inkslab production. He spends most of his time in the workshop. When training apprentices, he inspects the quality of each inkslab produced. When he comes across one that is flawed, he usually modifies it personally. “My job is to give workers guidance, check their work, and teach them how to design and draw. At first I would give them the design drawing. Now, since their techniques have improved, I ask them to draw their own sketches, and modify them later. They make inkslabs according to these modified sketches,” Cao explained. “It had never occurred to me that one day I would be selected as a national intangible cultural heritage inheritor. Although it’s a kind of recognition by the country of my craftsmanship, I also feel burdened with more duty. This is not just a personal honor, but a responsibility to pass down the craft. I can’t allow it to be lost or forgotten,” Cao said. Apart from training apprentices in the factory, in his spare time Cao also teaches students in a local school She inkslab engraving skills. As of now, two years’ worth of graduates have taken up this occupation that constitutes intangible cultural heritage inheritance.
Today, although nearing retirement age, Cao has no intention of laying down his carving knife. “These days I don’t personally finish many works, usually one or two pieces a year. The best ones in recent years are the inkslabs with designs of the Water Cube and Bird’s Nest for the 2008 Beijing Olympics. Last year, together with my apprentices, I made a one-ton inkslab in a dragon design,” Cao said. This inkslab won a golden award at the first China Mount Huangshan Intangible Cultural Heritage Artistry Exhibition held in 2012.
We saw this giant inkslab, 118 cm long, 18 cm high and 91.8 cm wide across its widest part, in the workshop. On the lower part are engraved 12 lifelike dragons in different postures against such patterns as juxtaposed ocean waves and auspicious clouds. With its dignified and imposing shape, the inkslab features fine, smooth engraved lines. Cao so explained the inspiration for his creation: Chinese have been called descendants of dragons, which explains why they take dragons as a theme. There is also an ancient Chinese saying, “Within the four seas all men are brothers.” The ocean waves signify that we love peace, and desire friendly communications with other countries, while auspicious clouds denote bliss and consummation.
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