On October 25th, at the Kunming Wutong Walking Silver Training Hall, craftsmen melted the silver pieces placed on the surface of the Wutong pieces and carried out "walking silver". The fire was burning red, casting the figure of the craftsman onto the mottled wall. A simple piece of black copper lay quietly in his palm, like a sleeping poem waiting to be awakened. This is the encounter between metal and life - using copper as a roll and silver as a pen, under the infiltration of body temperature, the light red copper color gradually settles into a deep ink color, and the silver white patterns flow like moonlight, stretching out a lively rhythm on the black background. The technique of using black copper to walk silver, which originated in Shiping, Yunnan during the Yongzheng period of the Qing Dynasty, was listed as a national intangible cultural heritage in 2011. It is not only the inheritance of skills, but also an aesthetic practice spanning three hundred years. Smelting, carving, calligraphy and painting, micro carving - all arts are integrated into one, creating an artistic legend of "using copper as the bone and silver as the soul". 'Walking silver' is a dance of fire and metal. Craftsmen use ancient methods to melt secret formulas, forge copper into molds, and then use chisels as fine as autumn hair to outline various phenomena on the copper surface. When the temperature reaches the critical point, the silver blocks melt into flowing moonlight. Under the precise guidance of the craftsmen, this silver shimmer flows into the valley like a stream, perfectly filling every scratch. After the silver liquid solidifies and is carefully polished, the silver wire and black copper blend seamlessly together, emitting a warm pearl under the light, as if injecting warm blood into the cold metal. Covering the darkness "is a transformation bestowed by time. Newly made copperware requires craftsmen to rub it day after day, allowing the temperature and sweat in the palms to blend with the metal in a wonderful way. In this slow ceremony, the bronze color gradually turns black and shiny, as each individual's unique life imprint gives each piece an irreplaceable ink depth. This is precisely why black copper and silver are known as "living metals" - they engrave the traces of human temperature and time into the memory of metals. The inheritance of this skill writes the ups and downs of life stories. Li Jiaru, as the fifth generation inheritor of Wu Tong Zou Yin, studied at the Yue family store in Kunming in his early years, but had to interrupt his craft due to the war. In his later years without children, he saw hope in the careful care of Jin Yongcai. Jin Yongcai, who was 29 years old at the time, was obsessed with traditional metalworking techniques from a young age and began learning how to make gold, silver, and copper jewelry at the age of 18. He was accepted as a disciple by Li Jiaru and systematically inherited this endangered skill. After years of hard work and research, Jin Yong finally succeeded in passing down the legacy and became a national level inheritor of intangible cultural heritage. Now, in his hands, on the black body, mountains and rivers have souls, flowers and birds have spirits, and wherever silver threads flow, there are awakened worlds. It's late at night, but the stove in the workshop hasn't slept. In the flickering flames, the young disciple gently stroked the newly formed bronze vessel under the gaze of Jin Yongcai, feeling the metal slightly heating up in his palm and watching it gradually change from light red to ink. Remember this temperature, "the old master's voice echoed like a distant mountain," this is not just the inheritance of skills, but also our dialogue with time. "When the last silver pattern froze in ink, this work had its own unique life. It is no longer just metal, but a poem that carries the craftsman's body temperature, persistent vigilance, and the sedimentation of time - telling the eternal in tranquility. (New Society)