Su Zuo's jade carving represents southern crafts, also known as southern works. In the Northern Song Dynasty, the court set up an artificial bureau in Suzhou, among which many jade workers were servants. During the development of jade carving techniques in Ming and Qing Dynasties, due to the differences in regions, economic conditions and customs and cultures, different schools were formed, including Beijing system, Soviet system, Yang system and Western system. At that time, Su Zuo's handicrafts had a great influence, because during the Ming and Qing Dynasties, Suzhou's silk industry and salt industry were very developed, and Su Zuo's jade workers preferred to find patterns and carve jade cards from the illustrations and prints of Xiu Xiang novels that were popular at that time. Kuiwen, its standard is generally top relief, relief figures, poetry carving. Jade is white and delicate, and the carving is not chaotic, which combines secular interest with literati's bookish spirit. During the Ming and Qing Dynasties, the jade carving in Suzhou reached its peak, especially after the mid-Ming Dynasty. Suzhou was once known as "the capital of the south of the Yangtze River", which not only lived in luxury, but also led the fashion trend. The market of high-grade consumer goods such as jade is extremely active, and Yangzhou is also known as the two most important jade producing areas in China. "Although Liangyu gathers in the capital, it skillfully pushes Suzhou County" is its true portrayal, and Lu Zigang and other representatives are famous in the capital and enjoy the reputation in all directions, which is known as "ingenious workmanship".

Up to Qingganlong, there were more than 830 jade cutting workshops in Suzhou. There is a rustle of jade chopping in Zhu Zhu Lane, Tianku Lane, Zhou Wang Temple Lane and Baolin Temple in Nagato, such as Wang Shumi Lane, Shitatou, Huilongge Lane, Fanmenqiao Lane, Shi Xue Street and Jianqiao Lane. And the jade market on both sides of the suspension bridge in Nagato is row upon row. Emperor Qianlong once praised: "The camera is used for cutting, and it is good to specialize in all kinds of lanes." At that time, Zhuoyu Hall was located in Zhou Wang Temple. Every year from September 13 to 16 of the lunar calendar, nearly 1,000 jade workshops all over the city will show their most elaborate masterpieces as sacrifices. At that time, peers will observe each other, businesses from all walks of life will gather, and citizens will scramble to watch it, which will be very lively. This phenomenon may be the only case in the national jade carving industry.

In terms of jade carving skills, Suzhou is good at carving small pieces, and is good at "small, clever, clever and refined". "Clever" means clever conception, especially clever color and sculpture. "Spirit" is aura, the author has aura, and the work has soul; "Fine" means that every knife is exquisite and fine. Due to the continuous improvement of modern jade carving tools, the meticulous work of jade carving has created unparalleled conditions in history. Therefore, "whether it is a round sculpture or a flat sculpture, it is beautiful and unique, and the patterns and lines are both rigid and flexible, smooth and smooth, without dragging their feet and leaving no traces of polishing, giving people a sense of vastness between square inches." In particular, Suzhou's thin tire device makes full use of different carving techniques, such as round carving, relief (shallow relief, deep relief), hollow carving, yin and yang fine carving, chain moving ring taking, drilling and boring technology, mouth honing technology, etc., making it more exquisite and incomparable, and becoming an outstanding representative of Suzhou's fine and unique craftsmanship.

The rise and fall of Suzhou jade carving has been dragged down by the times. Su Zuogong, who reached the peak in the imperial era, gradually declined from the Republic of China. It confirms the famous saying that "jade is hidden in prosperous times, and gold is hidden in troubled times". In stormy times, delicate and fragile jade is not the most timely collection. After liberation, until the reform and opening up, jade has only two identities: one is the "four elders" and the other is a handicraft in foreign trade. However, history often turns around, and Suzhou jade carving rises again after more than a century of silence. It is recognized by collectors all over the country for its excellent selection of materials, ingenious conception, beautiful shape, meticulous thinking and rich meanings. Especially since the end of last century, jade carving experts from all walks of life in China have settled in Suzhou, which has rapidly expanded the number of jade carving practitioners in Suzhou to more than 20,000. The combination of North and South skills and excellent works have pushed Su Zuo's jade carving to a new peak again. Su Zuo furniture (also known as "Su Shi furniture") refers to mahogany furniture made in Suzhou, Wuxi, Changshu and other regions centered on the south of the Yangtze River. Its simple and exquisite shape, beautiful lines and reasonable size have absorbed the furniture style of the Song Dynasty. The main materials used are Huang Huali, rosewood, iron rosewood, chicken wing wood, etc. Su Zuo's furniture has smooth lines, moderate proportions and is safe and generous. Whether it is placed in pavilions in Jiangnan gardens or in the homes of ordinary residents, it is very harmonious. The decoration part embodies the characteristics of simplicity, and often has a freehand brushwork style, just like the arrogance hidden in the cold elements of literati students.

Su Zuo furniture has a long history and rich cultural traditions, and is unique in furniture modeling, decoration and technology.

Su Zuo's furniture has excellent craftsmanship, and the main decorative techniques are carving, embedding and painting. Su Zuo's furniture is carved like a god, and the knife method is round and delicate. The most commonly used techniques are bas-relief and through carving. The formula of "carving should be verve, distinct, smooth and angular" fully shows that the carving of Su Zuo furniture requires not only roundness, smoothness and angular, but also similarity and vividness.

Due to the limitation of geographical conditions, the source of hardwood in southern Jiangsu in Ming Dynasty was far less abundant than that in Guangzhou and Beijing, and it was mainly transported by sea. These materials are hard-won, so Suzhou craftsmen are very careful when making furniture. Su Zuo furniture can be said to have reached the realm of "cherishing wood as gold". In the case of insufficient wood, craftsmen used their brains and created many technical means. For example, mosaic technology takes miscellaneous wood as the skeleton and sticks hardwood pieces on it. The pasting technique is superb and the edges and corners are not exposed. "Five doors down" is the jargon of Su Zuojiang's craftsmen praising the production of fine furniture. For example, a chair or stool, after it is finished, moves the same ones on the ground in order, and its footprint size and the distance between its legs will not be bad. This kind of situation with the same size and only the same footprint is called "falling five doors" in the case of non-mechanized production, which is really commendable.

Su Zuo's furniture should not only be beautiful in appearance, but also save materials, so that the furniture has a handsome style. Historically, those Soviet-style craftsmen used wood carefully like magicians and skillfully used it, even small pieces of wood could come in handy. No matter whether they are big or small, they carefully ponder, keep beautiful and do it seamlessly. Their almost ingenious craftsmanship is amazing. The small bridges and flowing water in the south of the Yangtze River have created an elegant and euphemistic style in culture and art, which is inevitably reflected in the aesthetics and style of furniture. Therefore, due to the lack of wood resources and historical and cultural factors, Su Zuo furniture has formed the characteristics of light beauty in furniture modeling. For example, both of them are plush chairs. If they are widely used, they will be large, majestic and full of carvings. Su Zuo, on the other hand, is elegant.

The decorative design of Su Zuo furniture is one of the highlights of Su Zuo furniture. Reasonable decoration has become a unique finishing touch in Su Zuo furniture, and precision production is indispensable in Su Zuo furniture. And the decorative theme is very extensive. Animals like to use grass dragons, and plants include Ganoderma lucidum, lotus twigs, bamboo stems, sesame stems and so on. Other patterns include unique Korean patterns and Bo Gu patterns, as well as common rope patterns, arched walls, Ruyi, fish grass and assorted foods. Suzhou has been the cradle of Wu culture and the hometown of traditional folk crafts since ancient times. "Su Zuo" is famous at home and abroad for its complete categories, exquisite skills and talented people. Dongzhu Town, a high-tech zone, is one of the most concentrated areas of Suzhou's folk arts and crafts, with 6,543,800 employees of traditional folk arts and crafts, and its representative crafts such as silk reeling, Suzhou embroidery and mahogany carving are listed in the national or provincial "non-legacy" representative list.

Suzhou embroidery is also called "Suzhou embroidery". During the Ming and Qing Dynasties, Jiangnan became the most important royal textile production base. Suzhou weaving, as one of the three major weaves in the south of the Yangtze River, is closely related to the court of Qing Dynasty. Suzhou weaving occupies an important position in the imperial palace of Qing Dynasty. Among the180,000 pieces of embroidery tapestries collected in the Forbidden City, Suzhou tapestries account for half, with nearly100,000 pieces. What is even less known is that the makeup satin originally thought to be woven by Jiangning is also made in Suzhou.

From Cao Xueqin's Dream of Red Mansions, later generations can get a glimpse of the prosperous scenery of Jiangning weaving, and at the same time connect the glorious history of Suzhou weaving. The three branches of Jiangnan shoulder the mission entrusted by the emperor, and at the same time have their own different division of labor. In Lecture Room, it is said that Suzhou weaving, like Jiangning weaving, is the silk clothing used by the emperor's court, Jiangning weaving is the "upper use" silk used by the emperor, and Suzhou weaving is mainly the "official use" silk used by the emperor. "The function of Suzhou weaving is actually very comprehensive. Many things of the emperor were handled locally through the Ministry of the Interior and the Weaving Institute. It is not only the function of shoulder weaving, but also the difference between Suzhou weaving and Jiangning weaving and Hangzhou weaving is that more sporadic and special tasks will be handed over to Suzhou Weaving Institute. It turns out that Jiangning weaves by going up one flight of stairs. From the research of archives, it is found that Suzhou weaving may have a closer relationship with the imperial court, especially the unplanned things such as weaving "colorful weaving paradise" are left to Suzhou weaving. Suzhou Zhinv House has more powerful functions, including jade crafts and purchasing rare treasures. Suzhou Weaving is responsible for weaving, but in addition to completing these tasks, it will continue to produce some innovative things. In fact, it involves all aspects of the Qing court, and Suzhou weaving has too many connections with the court. "

Suzhou weaving plays an important role in the court of Qing Dynasty, which can also be seen from the rich collections left over. Although no one has made detailed statistics on the number of Suzhou fabrics in the Forbidden City, according to experts' rough estimation, Suzhou embroidery accounts for half of the hundreds of thousands of pieces in the Forbidden City, including finished products and fabrics, with nearly100000 pieces. The rich and exquisite collection shows extremely superb embroidery skills. Among these extensive and profound collections, Suzhou's weaving skills include not only Suzhou embroidery and Song brocade, but also Suzhou's makeup satin weaving. "According to the division of labor of Jiangnan weaving, makeup satin should be Jiangning weaving, and it also belongs to Jiangning weaving process according to the characteristics of traditional crafts, but it is found from the collection that Suzhou weaving also has this process." A piece of incomplete text also provides a strong proof that "Suzhou weaves with a new kind of white-toothed five-claw eight-silk ground wool, while the dragon heavy stone Qinglong satin uses 222.24 minutes and three miles", and this kind of "dragon satin" is cosmetic satin.

Suzhou's knitting technology is world-famous. Up to now, the Palace Museum has preserved the highest collection of Jin Song's knitting technology-Qian Xiaoping, the national inheritor of Suzhou Jin Song's knitting technology, successfully copied the Picture of Colorful Woven Elysium. This painting represents the highest level of Buddhism in Jin Song, China. The manuscript of this painting is now in the National Palace Museum in Taipei. It was originally made by the court painter Ding for his mother's birthday during the Qianlong period. It is found by textual research that this colorful picture of Elysium should have been embroidered by Qianlong for forty-five years.

Ma, vice president of Suzhou Dongzhu Arts and Crafts Association, said that the two sides of the Taiwan Strait have the same cultural heritage, the same customs and habits, and very similar cultural aesthetics. Taking Eslite as the cultural platform, we have the opportunity to let Su Zuo's craftsmanship enter Taiwan Province Province, deepen cross-strait cultural exchanges and learning, and draw ideas and inspiration from artistic creation.