Chen Qi Liang and Chan Wing Long, two artisans from the Master Studio of Chow Tai Fook Jewellery Group, obtained a silver medal and Medallions for Excellence respectively in the jewellery category of the 45th WorldSkills Competition that took place in Kazan, Russia in August 2019. The international championship organised by the WorldSkills International (WSI) gathered 1,354 young talents from 63 countries and regions to compete on 56 vocational skills. During the four-day jewellery session lasted 22 hours in total, their all-round skills from technical drawing to soldering and polishing were evaluated. The duo shares with Hong Kong Jewellery the precious moments of the contest and their thoughts on the local jewellery industry.
HKJM: Hong Kong Jewellery
QL: Chen Qi Liang
WL: Chan Wing Long
HKJM: How did you become a jewellery craftsman?
QL: When I had no idea what to do after finished junior secondary, my father suggested me to join the jewellery industry which is a pillar industry in our hometown. After graduated, I entered Chow Tai Fook (CTF) and was selected to become a member of its Master Studio of Chow Tai Fook Jewellery Group. My jewellery making skills have sharpened under the guidance of their master craftsmen.
WL: An instructor of Vocational Training Council (VTC) advised me to enroll for diploma of vocational education in jewellery arts and design after noticing my good result in visual arts at public examination. During the second semester, I signed up for the 45th World Skills Competition which was introduced by a mentor. Thanks to the competition, I discovered a clear goal and passion for jewellery craftsmanship. I chose the path to be a professional goldsmith and I joined Master Studio of Chow Tai Fook Jewellery Group later on.
HKJM: How did you prepare for the competition?
QL: To be selected as a national team player, we needed to go through four preliminary selections held in city, provincial and national levels during which I travelled between training sites in Guangzhou, Shenzhen, and Beijing for high-intensity training. We were trained more than 10 hours a day, six days a week to pick up rusty techniques and build muscle memory. Training was harsh, not even an one-millimetre minor error was allowed.
WL: I went to Master Studio for a four-week practice focusing on past papers of World Skills Competition during spare time in the third semester. I also received a special training in Shunde’s Master Studio of Chow Tai Fook Jewellery Group for nearly six months.
HKJM: What challenges did you encounter during the competition? How did you overcome them?
QL: Apart from putting my craftsmanship to test, the competition was emotionally challenging. Failing to handle the size properly for the first two tasks weighed on me. The crafting process was plain sailing after I managed to put myself together.
WL: The competition had four tasks. Within limited time, we were required to craft a detachable jewellery piece with the size and shape consistent with the drawings provided, except for the centre piece which allowed participants to have their own designs, putting craftsmanship and design techniques to test. At the very beginning, my marks were deducted for the unequal curvature of the cabochon. In the creative session, I adopted a crafting by drawing approach, of which the flexibility allowed me to word beyond the rules while ensuring the conformity among the finished piece and the drawing.
HKJM: What personality traits make a jewellery craftsman? Any advice for those who wish to join the industry?
QL: A good jewellery artisan counts 70 percent of skills and 30 percent of creativity. From someone who did not know how to read a drawing to someone who craves to transform a two-dimensional drawing to a three-dimensional jewellery piece, I think diligence and professional ethics are more important than talent to become a jewellery artisan.
WL: Xunzi once said: “Patience wears out stones.” Perseverance, meticulous craftsmanship and aesthetic sense make a good jewellery artisan. Back in the WorldSkills warm-up match in Australia, contestant with well-built physique could mould an 18-karat gold piece effortlessly, while I still found it difficult to mould the piece with a chasing hammer so I think physical strength also plays a vital role as well.
HKJM: Do you see any limitations in the development of jewellery industry?
QL: In terms of design, mainland designers pay scant attention to the international jewellery market which limits therefore their creativity. In terms of manpower, shortage of jewellery artisan fails to meet the domestic demand.
WL: Rome wasn't built in a day. Practice makes perfect. However, jewellery making courses in Hong Kong are too packed for students to really master the techniques.
HKJM: How do you see the development of the local jewellery manufacturing industry?
QL: In view of jewellery craftsman shortage, Lunjiao Subdistrict Office has set up a 300,000-yuan jewellery artisan fund under the support of Lu Qi Ba Cultural Development Foundation, which is a good start to cultivate talents for the industry in Lunjiao. Besides, Lunjiao vocational training institutes and the Perfect Group will set up a jewellery institute to provide professional training and continuing education. It is hoped that it will become a jewellery craftsman training centre for Shunde or even for the Pearl River Delta and exert influence on the industry.
WL: The jewellery manufacturing process in Hong Kong is specifically divided into setting, engraving, polishing, design, etc. Hopefully, people can be trained all-rounded. There are many talented Hong Kong jewellery designers, but very few goldsmiths. I hope there will be more in the future.
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