Traditional jewelry plays different social functions in different contexts, and its shape constantly changes with the pace of the times. Traditional is contemporary, and in every historical stage, jewelry is a product of fashion. In different historical periods, jewelry making techniques are constantly changing, and the development of traditional crafts is advancing in such a process of constant elimination and innovation. Early jewelry was simple gold flakes formed by hammering techniques. With the development of Central Plains civilization, various production techniques gradually emerged, such as chiseling, filigree, fried beads, dotting, inlaying, enamel, etc., with different emphases in different periods. For example, the chiseling technique involves fixing gold and silver pieces on a rubber plate, using various shapes and models of metal chisels, and continuously carving, bulging, and hollowing the chisel on both sides to create flat or relief shapes. Most of these shapes are popular with people, and they contain the good hopes of the Chinese people. Taking hairpins as an example, the chrysanthemums and peonies on Tang Dynasty hairpins are full of natural vitality; The full pond beauty on the hairpins of the Song Dynasty depicts the mandarin ducks playing in the water under the small scenery of the lotus pond, exuding a restrained freshness and humanistic atmosphere; The pine, bamboo, plum and chrysanthemum on the hairpins of the Ming and Qing dynasties contain the highest spiritual pursuit, moral sentiment and philosophy of the Chinese people. The craft of filigree and pearl frying was particularly popular during the Han Dynasty. Fried beads, also known as micro particles or millet grains, are traditionally made by filling a large basin with cold water. A stone is partially exposed in the water, and the gold is melted and poured onto the stone. The gold water splashes and rapidly cools into the water, forming gold beads of different sizes. Then, different sizes of beads are sieved out through a sieve. The Tianlu Bixie unearthed from the tomb of Liu Chang, the Mu King of Zhongshan in the Eastern Han Dynasty, is a unique aesthetic style of the Han Dynasty. It is made of three-dimensional gold plates, with gold threads forming a beast like structure, and the bottom pattern is fully welded with gold beads, inlaid with turquoise and red agate, reflecting the coexistence of grandeur and elegance. Adorned with emerald feathers, it has been popular since the Warring States period. According to "Han Feizi," the Chu people used a wooden box to hold their precious pearls. The surface of the wooden box was adorned with pearls and jade, roses, and jade feathers; The Book of Han records the Zhao Yang residence where Emperor Cheng favored his consort, decorated with pearls and emerald feathers on the inner walls. Diancui craft is the process of using animal glue to attach the feathers of kingfisher to a gold and silver substrate or a very thin leather paper tanned from animal skin. The unique honeycomb structure inside the feather branches is used to reflect light, forming a blue-green color of "one color when viewed from the front, one color when viewed from the side, one color in the middle of the day, and one color in the shadow". Dian Cui jewelry is expensive, and during the late Qing Dynasty and the Republic of China, many jewelry items were replaced with burnt blue. Blue glaze is a type of enamel craft, usually applied to silver with blue glaze and fired at high temperatures. Nowadays, Dian Cui has appeared in front of people with a new look, and contemporary creators often use materials such as goose feathers, peacock feathers, ribbons, etc. to replace Cui Yu in designing jewelry. The long history and dazzling array of traditional crafts reflect the Chinese nation's understanding of beauty, embodying the ingenuity of the working people. They are passed down continuously and have a profound impact. At present, the national style and China-Chic are full of vitality. "Chinese aesthetics" and "Chinese life" have become new fashions. Many young people love and begin to learn traditional crafts. Due to its personalization, creativity, and humanistic warmth, traditional craftsmanship is full of charm. Every craft is derived from the needs of daily life and evolved in response to the development of the times. Only by entering into life can traditional crafts continue to thrive. Today, we need to effectively extract the national memory and cultural connotations carried by traditional crafts, and embrace innovative creations of new technologies and concepts. With an open mind, we aim to integrate ancient and modern, practical and beautiful traditional crafts, while retaining the warmth of craftsmanship and humanistic feelings. (New Society)