在中华大地上

rewrwrIn the vast nation of China无锡惠山被誉为四千年华夏文化Wuxi Huishan, birthed in Jiangnan Water Village在江南水乡孕育的一枝独秀outshines others in the four thousand-year Chinese culture 而惠山脚下的山泥Moreover, Huishan Clay figurines is all treasure spreads 更是造就了流传千古的艺术佳品through the ages of the art market有诗赞曰There is a poem said惠泉山下土如濡Clay in the Huiquan Mountain is wispy and glutinous阳羡溪水米胜珠rice in the Yangxian brook is bright and smooth勤劳聪明的无锡人The diligent and intelligent Wuxi people正是利用这些颗粒纤细use this kind of black-brown clay for 10黏性极佳的黑褐色山泥its fine particles and excellent adhesion捏出了一个个形态独特to create Huishan clay figurines with unique form寓意丰富的艺术珍品—惠山泥人and rich implication作为代表无锡品牌的无锡塑彩艺术To represent the art of painted sculpture惠山泥人在我国的民间工艺发展史上the clay figurine plays an important role占有着重要的地位in the development of Chinese folk craft半个多世纪以来around the world over half a century惠山泥人作品Huishan clay figurines凭借它色彩鲜艳悦目known as one of best Oriental art forms造型生动传神风格特征别致are not only one of the favored folk arts 20品种十分丰富等特点in China for its bright colorvivid image不仅深受人们的喜爱更远销62个国家和地区and unique stylebut also exported被誉为最具有东方色彩的艺术之一to 62 countries惠山周边泥人店铺鳞次栉比聚店成市The clay figurines shops abound in Huishan周边的居民几乎人人会做泥人almost everyone there knows how to make clay figurines 越来越多地出现在The clay figurines are increasingly being seen everywhere 人们的社会活动和娱乐中in people’s life and entertainment成为了炙手可热的艺术佳品Being the hottest art惠山泥人曾经有过她的鼎盛时代Huishan clay figurines has its peak time!时光荏苒岁月如梭Time flies, time flies 30随着经济的飞速发展with the rapid economic development现代化社会的到来with the rapid economic development人们的物质文化生活people’s material and cultural life increasingly tends to 日趋高节奏多元化fast-paced and more diversified丰富的国内外新兴艺术The plentiful newly-rising arts铺天盖地的涌现spring up so overwhelmingly使得民俗工艺的魅力that the charm of folk art渐渐在人们心中淡化is slowly fading out from people’s life老艺人们日渐凋零as the old artists decreasing老的工艺得不到传承the traditional skills not being inherited 40 创新就更困难重重which makes the innovation full of difficulties在这种情势下In such conditions惠山泥人工艺的传承the inheritance of Huishan clay figurines走到了十字路口has come to a crossroads时至今日已鲜有艺人There are few artists在泥人身上willing to pour their heavy share of the倾注他们的浓浓乡情nostalgia into the clay figurines by now在这样的情势下In such conditions有一位老人走进了我们的眼帘an old people stands out她是中国工艺美术大师she is the master of Chinese arts and crafts 50她不仅传承了师傅巧夺天工的技艺She not only inherits the wonderful skill from her teacher 更用自己的作品延续了but also pushes the lineage and innovation of手捏戏文的文化传承与创新“knead the drama text” art with her amazing works她用自己的一生She spends her whole life to paint a bright future为世人勾画出泥人发展的美好前景for clay figurines’ development她就是喻湘莲She is Yu Xianglian喻湘涟 1940年出生无锡人Yu Xianglian, born in 1940, Wuxi出生于江苏无锡泥人世家Yu was born into a family of JiangSu Wuxi clay figurines 是著名艺人蒋三元的曾外孙女the great-grandchild of the famous artist Jiang Sanyuan她潜心钻研She studies with great concentration 60集各家之长learning from others and integrate them from融会贯通each other which carries the unique local style继承发扬了惠山泥人的地方风格of Huishan clay figurines forward作品多次入选国内外Her works have been chosen into art exhibitions home各级工艺美术展览多次获奖and abroad for many times and gained a great many honors修复历史作品达到修旧如旧The historical works restored by her are almost the same 以假乱真的境地as they used to be and can be reached confused as realones作为国家培养起来的艺术家As the artists cultivated by the countryshe has been 1993年获得awarded the title of “The master of Chinese arts中华人民共和国轻工部授予的and crafts “by the national Ministry of 70中国工艺美术大师称号Light Industry in 19932006年被国家发改委授予and “The master of Chinese arts and crafts”from the中国工艺美术大师称号National Reform and Development Commission in2006. 就是从有历史记载的话to historical records就是在那个陶庵梦忆里面According to the Taoyan Dream明代的游记里面有记载which is a travel note of Ming Dynasty, the Wuxi clay 那么也有四百多年figurines have a history of four hundred years但是我们最近也有各个方面的信息返回However, we have all aspects of the information back 就是在潮州的浮洋their family history records that他们的家族史里面他那里也搞泥人they make clay figurines in Fuyang, Chaozhou 80 跟咱们无锡差不多Their clay figurines are similar with Wuxi’s但风格不一样except the different style他们家族记载是八百多年He said, on the basis of their family history他就说八百多年前无锡惠山an old artist went to Huishan Wuxi有老艺人流浪到那留下来的for eight hundred years ago, and left this craft那么从这样来看的话呢So from this point of view就是说明我们无锡的泥人our Wuxi clay figurines have existed more than不止四百多年four hundred years.作为惠山泥人的继承者as the successor of Huishan clay figurines喻湘涟在谈及惠山泥人的起源时Yu Xianglian,is rather objective when talking about 90 颇为客观the origin of Huishan clay figurines少了民间的神话传说No folk myths and legends凸显出来的是饱经岁月的历史进程only the history with tumultuous changes北方来讲以天津为主的话呢In the northern area, mainly in Tianjin它那个泥人the differences between the跟我们泥人的区别在哪里two clay figurines are as bellows:第一个我们就讲的是地域区别Firstly, the geographical distinction means that 第一个区别就是说the people in southern它在北方咱们在南方are delicate那么南方人比较秀气hile the people in the northern 100 北方人比较粗犷rough第二个区别就是粘土的区别The second difference is the clay土质不一样Different我们这里是黑土ours is black泥种不一样那么里面泥土的性质Different mud has different nature它的质地也不一样and texture那么在天津泥人张当中的泥土呢The soil which used by Clay Figurine Zhang in Tianjin 就没那么（韧）is tough它只能做雕塑and can be made into sculptures做手捏戏文玩不起来but cannot be pinching clay figurines 110它很细很细The soil is very thin手伸出来这里要断掉或者下沉and easy to break or sink我们这里的泥土就不会Our soil will not have this situation这是泥土的差别that is the difference还有一个呢Another difference is that就是我们无锡惠山是地域泥人ours are geographical clay figurines什么叫地呢As for the geographical一群人能代表一个民俗a group of people represents a folk它不是一家它是一个地区but not a home最新形成的时候在明代的时候it is a new formed region in the Ming Dynasty 120有的在清代的乾隆期间In the Qianlong period of the Qing dynasty它有一百多家的人在做泥人it had more than a hundred people to do the clay figurine 那么它作为地域泥人地区的泥人As geographical clay figurines不像天津泥人张是张家的it is unlike Tianjin Clay Figure Zhang你看河南的也好还是哪里的也好Take Henan and other area for instance都是一家为主的一个整体的泥人the clay figurines adopt family style我们是地域泥人geographical clay figurines正因为它是地域泥人Because of this characteristic带来了也就是第四个区别bings the fourth difference带来了风格的多样化the geographical clay figurines have various styles 130 那么我们无锡的粗货our Wuxi crude goods跟其它地区的粗货也有不同is different from other crude goods我们是粗中求细We involve fine and crude together而且甜美粗中有细细中有粗and seek the sweet style它是这么个含义it os this meaning所以说这是一点so it is the point还有一点Another point is that我们讲细货the fine goods一个粗货一个细货it is different from the crud goods细货讲的手捏泥人手捏戏文the fine goods emphasize the hand-pinching clay figurines 140它完全就是靠手工做they are completely hand-made手捏的hand-made用我们无锡话讲就是真本事吧and can be called really capable in Wuxi words所以这是第四个区别so it is the fourth difference还有一个区别就是说我们有行会Another difference is guild因为我们是地域的文化because that is the regional culture所以我们有行会就是泥耍货so we have mud playing goods现在还有有那个地基在那里There still have foundation那么其它地区都没有的which other areas do not have那么有些专家也讲Some experts also said that 150 无锡惠山泥人呢Wuxi Huishan clay figurines它是资产阶级的萌芽状态的一个典型is a typical bourgeois bud所以我们无锡泥人呢so these are four or five differences跟其它地区有这么四五个区别between Wuxi clay figurine and other region.惠山泥人在喻湘莲手中Yu Xianglian’s clay figurines not only have the 不仅结合了上述传统特征traditional characters mentioned above喻湘莲更与时俱进率先将she keeps the pace with time being the first to 名贵紫砂与泥人艺术相结合introduce the valuable purple clay intothus创造出了以紫砂为creating the clay figurines art创造主题的惠山泥人clay figurines with purple clay 160 这一创新This innovation brings the big surprise to令国内外喜好惠山泥人的domestic and foreign Huishan clay figurines 艺术收藏者眼前一亮lovers winning consistent favor of the从技术到工艺internal and external都获得了行业内外的一致好评no matter the technique or craft随着时代的发展With the development of times无锡惠山泥人Huishan clay figurines of Wuxi和天津泥人张and the Clay Figurine Zhang made in Tianjin以其独特的地方文化特色has formed Wuxi, Tianjin, the north and south 在中国历史上形成了无锡天津clay figurine art in Chinese history 170这南北两大泥人艺术with their unique local cultures作为当今惠山泥人的继承者As the successor of Huishan clay figurines对于惠山泥人和天津泥人之间的Yu has a deeper understanding of techniques and 制作手法和艺术特征artistic features between有着深入的比较和理解Huishan clay figurines and Clay Figurine Zhang 手捏戏文手捏戏文Hand-Pinching clay figurines顾名思义它就是用手捏的方法as the name suggestsit expresses its来表达它的艺术形象artistic image through hand-pinching就是从定义来讲就这么说from the definition但是我们真正来讲它的最大特点but in terms of its most important feature 180 它的表现的内容都是戏曲that is, its performance is opera它最大的优点来自于舞台The biggest advantage comes from the stage不同于舞台and differs from the stage它有个再创造的过程it is a re-creation process那么技巧上的话它那比较快it is very fast in skill快速的快一个技巧的快it is very fast in skill还有一个技巧伸缩性The other is the skill scalability它达到一定程度it reaches a certain extent因为入手无悔As it start you cannot regret它一下手就不改从头到尾一气呵成的 190 it must be done in continuous skill所以一个快一个伸缩性Another feature is还有一个自然性natural这两个字呢一个自然的流露a natural outpouring一个刻意的追求听听是简单的and a deliberate pursuit are simple但是它包含了民间艺人的but it includes the修养问题在里面cultivation of folk artists无锡惠山手捏戏文最大的优点是is the most important自然自然的流露natural所以我觉得我们手捏泥人So I think there are four or five features of它总体来讲有四五个特点hand-pinching clay figurines in total 200 无锡泥人甜而不俗甜中有土味The elegant, earthy,甜而不轻浮modest and lyrical smell of这种沁人心扉的甜Wuxi clay figurines come from the sweet来自于惠山赠与的黑色黏土and black clay which origins from Huishan更离不开泥人创作者多年的and shaped by the skills and life deposit of积累与钻研clay figurine creators创作者们凭着淳朴的思想情感They try to figure out the most profound去理解最深刻最典型的形象and typical image with a simple heart尽管艺人们受科学知识的局限Despite that they are limited by their scientific 或不认识自己的艺术规律knowledge or the existing artistic rules 210 但他们却摆脱了解剖比例the clay figurine creators pinch up透视结构等约束unique and vivid art works with their own kind of充分运用自己的语言understandings and get rid of the restraints of捏出了独特逼真的艺术形象dissection, proportion, perspective, structure, etc.而天津的“泥人张”彩塑作品The most outstanding difference between the主要使用“塑”的技法famous Clay Figure Zhang from Tianjin and clay figures 以使泥人各班角色形象逼真in Huishan is the creating methodClay Figure Zhang它与惠山泥人主要使用手捏技法is sculptured to show itsverisimilitude while有着风格上的区别clay figuresin Hui Mountain are pinched up纵观惠山泥人的发展史Throughout the history of Huishan clay figure 220我们不难得出we could see that手捏戏文的诞生与发展the birth and development of Clay Figure Drama使惠山泥人真正迎来了contributed directly to the prosperity of它的繁华年代Huishan clay figure喻湘涟Yu Xianglian从艺50余年who engaged in clay figure arts for more than 50 years 潜心探讨惠山泥人的本质特征has summarized 18 methods of Clay Figure Drama创作多种特色鲜明的手捏戏文which has made a significant progress总结出手捏戏文十八法in the researching为惠山泥人研究发展and developing of 230做出了突出的贡献Huishan clay figure.手捏戏文诞生在The Drama emerged during the late Qing Dynasty 清代同治光绪年间along with the popular of traditional Chinese opera 它的出现与戏曲在江南一带的流行which enhanced people’s appreciation以及人民对传统戏剧的and understanding to traditional arts欣赏领悟密不可分in the south of Yangtze River手捏戏文不用模具Clay Figure Drama created by directly由艺人直接捏塑而成pinching ups instead of moulds他们通常选取一出戏中的1-3个人物In a specific scene or a character’s appearance抓住剧情发展的一刹那creators choose one to three characters 240 这个特定的场景或是人物的亮相and capture the important moment of epitasis由此点出此戏主题and thus point out the theme of the drama一般泥塑的方法大多是From ensemble to details从整体到细节by adding or cutting时而添加时而删减去creators usually progress each part每个部位同时推进of the figures at the same time而手捏戏文However, clay figures for drama却与此大相径庭are made in a very different way手捏戏文的艺人从来都是The artists of Clay Figures Drama make figures从上到下从里到外coherently from top to bottom inside and out 250 分段组合一气呵成Works will be destroyed and reform稍有差错就毁掉重做不做修改for a single mistake instead of modification难怪郭沫若赞叹其Moruo Guo, a famous Chinese culture master造化眼前妙once gasped in admiration for the magical须臾出手中and momentary performance of Clay Figures Drama 喻湘涟总结的手捏戏文十八法The 18 methods of Clay Figures Drama summarized by 是将手捏技法按照操作顺序Yu Xianglian are the first try to record the以文字形式记录的首次尝试pinching skills according to the sequences of operations 是惠山泥人传统技法的总结It is the crystallized wisdom from several generations是几代艺术家智慧的结晶of clay figures artists 260技法是手段Anyway, skills are the pathway效果才是目的to the final effects我们可以通过喻湘涟的实际操作Through the practical operation of Yu了解这些基本的工艺手段we will have a basic knowledge of the effects在惠山泥人创作中of each of the crafts andhow important对艺术效果起到的重要作用the role they played in arts剧名贵妃醉酒The name of title: The Drunken Beauty杨贵妃与唐明皇The story that Emperor Tang and his beauty Yang made 相约游园arrangement to go to the garden party together杨贵妃在高力士的陪伴下Yang, accompanied by Gao Lishi 270 准时赴约was punctual to the appointment而明皇不来however Emperor Tang did show up贵妃由疑到惑Yang Yuhuan waited for the Emperor Tang由愁到怨her feeling of wondering turned to doubts遂独饮闷酒from worry to blame不觉酩酊大醉thus Yang drank as a lord alone此作对杨贵妃的怨而不怒This opera portrays the vivid images及高力士的谄媚小心之状of Yang Yuhuan’s resentment but no anger刻画相当生动as well as the flattering image of Gao Lishi准备阶段Preparation stage 280在正式捏制泥人之前before the kneading必须做好一些准备工作there are some preparation should be done首先是揉泥First is kneading mud把伏过的泥取来再加工keep rolling the mud until反复揉一直揉到滋润为止it becomes moisture揉好后搓成上小下大的圆柱体Then shape it to a cylinder with small top and big bottom 然后用塑料袋装好and put it in the plastic bag and cover it再用湿布包起来备用with a damp cloth to get ready塑头Kneading Head老艺人说There is a saying between old artists 290相活戏才活The vivid face makes the whole play vivid意思是nd means that只有把泥人的面部表情做生动aonly the clay figurine facial expression is vivid才能生动的表现戏文could the opera text be vivid做脸型要注意When knead the face, one should pay attention to the 微妙的变化subtle changes of facial expression手捏戏文作为艺术品As the art ,“knead the drama text”需要小批量复制need to be produced in low volume为了使产品保持统一的风格in order to maintain a uniform style After the heads of 需要捏出一批生旦净末丑“sheng”, “dan”, “jing”, “mo”, “chou” 300 各种行当的头形are made out they will be made into the然后翻出头模印制泥头head model to “print” the head这样既节约了时间It saves time and to又可以保持作品的系列化ensure the works stay in the same style这种头型只是一种基本象征The head model is only an essential symbol在加工过程中During the processing还要根据创作的it will be modified according to the具体形象和性格修改corresponding image and character如果做单件的人物If the figure is needed single那就不必翻模了the copied mould is unnecessary 310 先把泥搓成陀螺状First keep rolling the clay into turbinate尖端对准头模最凹下的鼻尖位point the apex at the position of the tip将泥捺实各细部roll it firmly然后给后脑勺加泥add some clay to the back of head这样就把头部的大体外形就出来了then a rough outline of the head is clear添泥捏出颈部Adding clay to make the neck推出后脑push the clay to shape of back of head以拇指捋光后脑Thumb of the back side of head a和脖颈后nd neck till the surface is smooth即可用左手持模After that, you can handle the model by the left hand 320 右手持泥头轻摇取下and take the clay head down softly by the right hand改头角是把印出的头角Changing head is to process the printed head加工成需要的角色头部into the one according the character needed泥头取出后The clay head must be modified需根据戏中行当角色的特点very carefully based on the character’s修改脸形细微处distinctive features in the play然后把角色头部上的装饰Then decorate the head with ornaments通过捏贴扢装等手法one by one through molding, sticking,一样一样的做到头上去polishing and assembling经过改头角的人物头部The processed head 330已经初具神韵is already taking shape再根据戏中人物的行当角色next according to corresponding the dramatis personae of 装扮上头冠the “line of business” added the crown更准确的表现角色的个性to accurately demonstrate the characteristics of the role搓一条泥弯成弓形Arch one strip of clay by rubbing it with the hands拍扁后沿着发髻的外缘镶上then pat it edge the bob with it Make both ends捻一些小泥球镶在花冠下Twiddle some clay balls to set in the wreath作为花饰of flowers as the curlicue镶上捻好的泥球at the lower ends of both sides by toothpick两端下垂捋光成花冠形hanging from the top and shape it into crown. 340 在花冠上挌出月牙形冠饰The crown has a crescent-shaped mark on it在冠顶的中央戳洞Poke a hole on the top of the crown冠饰完成后The procedure of crown decoration finishes开始捏制发饰the next is making hair ornaments先取一泥条盘成圆环状Coiling clay into a circle first镶至后脑勺做成发髻put it behind the back of head as a bun再捻泥球镶在发髻左右两侧Making the curlicue by embedded other clay balls挌成花饰at both sides of the bun取细铜丝搓直Rub a fine wire to straight剪成小段cut it into a few short parts 350插在冠顶stick them on the top of crown手捏戏文来源于舞台The art of knead the drama text comes from the stage 但又不同于舞台but different from it虽然塑造的是舞台形象The images it portrays但要比舞台上的形象which are more exaggerated更夸张或者更简明or more concise than the stage images应该去掉一些无关紧要的元素without unnecessary elements这就是惠山泥人and this is the recreation of the stage对舞台形象的再创造image by Huishan clay figurines捻小泥球逐一插在铜丝上Then put clay balls on one by one on the short wires 360 这样杨贵妃的塑头就完成了With these, the clay head of Yang Yuhuan is done用竹签在花冠的两侧下端戳洞the holes later will be待装垂穗ornamented with tassels搓一上细下粗的Twist the clay into cones圆锥体泥条which is thin above and thick below以左手拇指定位出上下身Use left thumb to locate both the upper and lower body 在下半身捏出大腿形状then making the shape of thighs并扳出姿势at the lower body with a posture捏出裙摆and pinch the skirt再用笃板Continue to press the skirt 370滚压出裙摆for the drapery effect with the plate用弓拉去裙摆下多余的泥土throw out the unnecessary clay by the bow 在裙摆的处理上As for the processing of skirt应根据老艺人留下的经验according to the older artists’ experience 纹理和褶皱the best is not depend on the too deep不能太深太多texture and too many folds贵在以少胜多on the contrary, less is better than more取泥拍捏出Pat and pinch till clay is thinner上后下薄的泥片in the top than the bottom以上侧包裹臀腰and cover the waist-to-hip 380做出外裙with the thinner part to be the external skirt完成之后After the skirt is done用拇指捋光外裙表面thumb skirt until the surface becomes smooth传统戏曲的The costume and props of the traditional Chinese 服饰道具绚丽多彩opera are colorful and gorgeous并且严格规定the rules that what the character什么角色该穿什么服装should wear is very strict在手捏戏文中也是一样even in the language of the clay sculpture鸾带是杨贵妃The phoenix belt is必须的装饰the necessary decoration of Yang Yuhuan 390 在捏衣衫之前Before pinching her cloth先搓拍泥条one should twist and slap the clay修剪成鸾带to the shape of the belt镶在腹中部then inlay it into the middle of the belly搓拍一条箭簇状的泥条Twist and slap the clay like an arrow做上身的衫to make the upper cloth由鸾带上端包绕至腰后wrap and roll the phoenix belt to the back of waist捏推成上衣then pinch and push it to make the coat将泥上推使之与胸部均匀结合After that, push up the clay to combine with the breast 并捏出腰身and make up the waistline 400捏断组合Kneading in sections in is the是手捏戏文的独有成形法particular way to mold in the drama text kneading惠山泥人有捏断组合16字诀and here are the tactic自下而上由里到外from the bottom up, from inside out分段组合sub-form composition一气呵成be done at one go without interruption这是历代惠山老艺人的which is based on the experience of each经验总结generation of the old Huishan clay figurines artists 自下而上From the bottom up即是从下而上分段捏制means to mould in sections from bottom to top 410 这是由于人的立足点是一双脚This is due to people’s feet are their foothold立足点解决了once the footing is settled其他部分就顺理成章了other parts will done smoothly捏塑杨贵妃的身段When molding the figure of Yang Guifei也应该遵守这16字口诀should also be done under guide of the tactic先捏裙First are the skirt再捏鸾带最后捏衣衫then the belt and finally the clothes接着是捏手和水袖Then it comes pinching the hands and weaving sleeves先取泥条搓拍成扁平状Make the mud into flat one first滚压出水袖的大致外形rolling out the approximate shape of the sleeves 420 用拇指挌出肘关节and then produce the elbow with thumb并扳出手臂姿势and turn the clay into arm position同时捋光水袖表面stroke the sleeves until its surface is smooth以笃板滚压出淡淡的外袖衣褶Press the faint folds of clothes by the plate取泥条拍捏出一侧厚Press some mud, making it one side thick一侧薄的泥片the other side thin. Surround them on the sleeves包围水袖水袖由薄侧伸出and make the sleeves protrude from the thin side推捋出上臂Pull and stroke to make the upper arm手和上肢完成之后After the completion of the hand and upper limb就是用镶嵌技法you need to inlay the upper limb to posture up 430 把上肢镶到身段上去When inlaying arms在镶两臂时it is important to pay attention加泥量很重要to the volume of added clay旦角要少加泥Female roles need less mud甚至不加even no mud大脸要多加一些泥The character with big face needs more mud因为有垫肩所以要宽一些because he has shoulder pads, so wider手捏泥人的上臂接到肩上时When put the upper arm with shoulders together先在左肩部用食指捺出凹形first on the left shoulder,use your index finger to flick将左上肢接上按实it with a concave,and then connect the left upper limb 440 然后添泥加固adding mud to fix it把大体的肩部捏完整add mud to broad shoulders complete再用同样的方法镶接右肢Inlay the right arm under the same method手是传情的重要组成部分Hands are very important in expressing feelings 一个手势通常能包含sometimes one single gesture can一个人物的性格身份甚至年龄等contain person’s character, identity and even age 老艺人视手势为仅次于Those veteran artists consider gesture the second 眼神的第二表情点expression point, only after eye contact两臂都镶好后The next is to put the shoulders用笃板把两肩和胸的形状推出来and bosom into shape by the plate 450最后扳出双臂的姿态At last, pose the arms整体捋光and make the surface becomes smooth在双肩的中心戳洞准备装头Poke a hole for the head in the middle of shoulders捻一细泥条沿洞边镶成竖领Then twist a wispy of clay inlaid by the edge as collar 再捻一个小泥球and twist another clay ball镶在竖领中心下方做成缀玉inlaid beneath the collar as jade pendant取头将颈项插入洞中Put the head in the hole轻压固定and lightly press to make it fixed。