Founder of Oriental Red Copper Relief
Zhang Zengjin, male, born on October 8, 1947, is from Qianfu Village, Taoyuan Town, Jinzhou City. After graduating from primary school in 1963, he worked in this village as a farmer. In 1970, he worked in Jinxian Auto Repair Plant, Transportation Station and No. 2 Middle School. In 1990, Jinzhou Municipal Civil Affairs Bureau was transferred to organize the establishment of Jinxian Welfare Copper Factory, an enterprise directly under the Civil Affairs Bureau, and served as the factory director.
In 1996, he organized and founded Jinzhou Oriental Crafts Factory as the director of the factory. He personally presided over and participated in the technical research and development team after five years of exploration, experiment and improvement. In 2000, it successfully developed and created the production technology standard of red copper relief handicrafts, filling a gap in copper handicrafts.
In 2002, the company was reorganized into Shijiazhuang Oriental Red Copper Embossed Crafts Co., Ltd., and Zhang Zeng has been the chairman and general manager since then.
Artists only need to be responsible for themselves and their works, while entrepreneurs need to be tolerant, targeted, selective and responsible.
Copper has been widely used in prehistoric times. With the birth of bronzes, copper has entered thousands of households, and its eternal charm is realized through the creation of craftsmen. It is not only dynamic rhythm and ups and downs, but also makes copper handicrafts have infinite vitality and vitality in limited space. However, these civilizations have gradually been diluted and forgotten by people with the continuous progress of the times, Maybe PetroChina can only find the clues of the past glory in the historical documents one day.
How to make the ancient traditional art flash the flavor of the new era, and let the metal of copper glow with a new and charming luster. Here, with copper as the origin, the oriental copper reliefs hope to link up more traditional artifacts, and rebuild the relationship between culture and space, so as to explore the possibility of the contemporary Chinese Renaissance.
Since the start of the business, Oriental Copper has a principle: to be creative and aesthetic, to make different copper handicrafts. Pioneers always have to endure the risks and costs associated with bold innovation. The situation before Chairman Zhang Zengjin is: on technology, how can the technology that has been applied in the military industry for a long time be perfectly grafted into the handicraft industry; In terms of cost, adhering to 100% pure copper as raw material is bound to generate huge initial investment.
From 1996 to 2000, after four years of trial and error, a successful red copper handicraft was produced, which was gradually recognized by the market. In terms of business choice, Zhang Zengjin explored the vast economic blue ocean in the impoverished copper handicraft production neighborhood at that time. Over the years, it is undeniable that Dongfang Zitong has indeed created a new field, which is exactly what Zhang Zengjin expected most and what was most suitable at that time.
How we conceive our own era, and how we will define our era in the future, always needs someone to think and do. Jinzhou has been a place of outstanding people since ancient times. Wei Zheng, the famous prime minister, has made this land feel more glorious. Time has passed. The bronze statue of Wei Zheng donated by Oriental Red Copper Embossment Crafts Co., Ltd. is also reviewing the changes of the times.
A good handicraft colleague is also a successful work of art, which must be permeated with the thoughts and feelings of the creator, and carry more information of the times and fresh life characteristics, so it has high aesthetic value and social significance.
However, the boundaries of works of art are extremely blurred, and the aesthetic appreciation of art has always been diversified and unified. The handicrafts produced by Oriental copper reliefs freely absorb the essence of various artistic elements, have more themes and forms of expression, and constantly emerge a large number of works that can be circled and pointed.
We also try to imagine what we will see ten years later when we return to Oriental Copper, when the present passes into the past, and when the future becomes reality.
When faced with the choice of survival or death, perhaps we can all remember our responsibilities as entrepreneurs; However, in the face of the ever-changing trend, how to find a connection between tradition and innovation to avoid the future into a dilemma that should have been avoided.
Between the dual promotion of copper art technology and sculpture art, Chairman Zhang Zengjin has made great efforts to explore the track of glory and innovation, which is also the distance between perception, inheritance and rebirth. Nowadays, with the change and development of the trend of the times, people pay more attention to the style of home environment that shows humanistic temperament and personality interest. The Chinese classical mahogany home, which has been baptized for hundreds of years, melted generations of artistic scenes, and rooted in history and culture, has always been the theme of people's personal home taste.
Carving and decoration, refinement and practicality, and mahogany furniture make the two have a perfect connection, which is also the inheritance of traditional Chinese culture. As people said, the most unique charm of classical mahogany furniture lies in the carving art, and therefore has more appreciation and collection value. When people feel the resplendent Chinese classical furniture again, it is difficult to compare its lasting and unique nature of art with words. The mahogany furniture produced by Dongfang Zitong has not become stale due to its long history, but has become the standard and model of modern furniture art by connecting the past with the reality as time goes by.
The artistic creation of oriental red copper reliefs, which outline the future and recall the past, can push the history step by step into the future, inherit and reflect the culture, and be strict with its high quality, and bring the humanistic charm into full play, so that every carving brush on it is filled with painstaking effort and talent. Despite the continuous leap of the times, it has not been decomposed and weakened, on the contrary, its unique taste is still paramount.
Everything seems to be just right. It tells the history of traditional skills, and also shares the hope and joy brought by innovation. But how to cultivate the flag of this era on the original fertile soil may still need to wait for time to nourish, all of which have a long way to go.