Creativity Cocoon –

Chen Jincheng (left) introduces his cocoon art to visitors at a museum in Tao Yuan Village, Tongxiang City, Zhejiang Province. [Photo provided to China Daily]

Chen Jincheng Workshop is full of silkworms. Hanging ornaments of various shapes and sizes, including Peking Opera’s face make-up, cartoons, Chinese zodiac animals and totems.

Chen, 52, is a native of Tongxiang City, Zhejiang Province, and specializes in the art of cocoon. He uses special dyes in cocoons that undergo treatment, including drying and tightening.

“Only 3 percent of the 5 kilograms of silk can be used for painting, because art demands it in terms of shapes,” says Chen, adding that the rest is used for practical purposes. “It tests patience and caution to create the art of cocoon, and requires hard work to deliver a good job.”

Chen attended a one-year extracurricular program organized by professors at the Chinese Academy of Arts in Hong Kong, Zhejiang Province, in the year 2000. He has been doing extensive research in painting since middle school. And models, ”he recalls.

After graduating, he left home and spent the year painting at an art gallery in Shenzhen, Guangdong Province. Laid the foundation of art. Art

“The more I learned, the more I wanted to learn,” Chen said.

After working for more than four years, Chen dropped his hat in the National College entrance exam in the year 9 and decided to pursue his artistic studies.

His work experience helped him stand the test and he entered Hangzhou Normal University, where he studied art.

Chen started his career as a middle school art teacher in 1996 and pursued his art in his spare time. He referred to the idea of ​​cocoon painting in 1999 when Tongxiang developed the Vujin Regional Town Tourism.

“I wanted to bring back some foreign tourists to remind them of Jiang Nan (south of the lower Yangtze River),” Chen said.

The area has four separate seasons, which are ideal for growing silk chickens. It is the largest silk production center in China, developing silk cultivation, silk regeneration, dyeing and embroidery.

After studying cultural and creative products elsewhere in the country, Chen realized that these products should be based on specific local resources for making kits. That was when he first thought of silk. However, painting on silk was not easy.

“Paint, color and lines just can’t interact for the desired effect on the surface of the silk, as they can on paper,” Chen says.

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