The filigree inlay technique, also known as fine gold craftsmanship, is a representative of Chinese palace craftsmanship and is listed alongside jade carving, cloisonne, and lacquer carving as the "Eight Wonders of Yanjing". The filigree inlay process has a history of over 2000 years, roughly originating from the Shang and Zhou dynasties. During the Han dynasties, it separated from the bronze casting process and formed an independent process system. During the Ming and Qing dynasties, the filigree inlay technique reached its peak. In 2008, it was included in the national intangible cultural heritage list. It uses gold, silver, and other raw materials, and uses techniques such as pinching, filling, and accumulating to create various shapes of metal wire. When Gu Guoqiang was in college, he studied ceramic design in Jingdezhen. After graduating from college, he worked at an art auction house. By chance, during a visit to the Forbidden City to restore cultural relics, Gu Guoqiang was "captivated" by a piece of filigree inlaid jewelry. We have such exquisite jewelry and craftsmanship, but why has such a beautiful thing been forgotten? "Gu Guoqiang was puzzled. For a long time, the inheritance of filigree inlay techniques has faced a dilemma of "green and yellow mismatch". "Old, aging and lack of change." Gu Guoqiang said that China-Chic had not developed at that time, and people's prejudice against traditional handicrafts had not changed. Under the condition of lack of market, traditional skills were also conservative and difficult to find a breakthrough. With his love for traditional culture and strong interest in filigree inlay, Gu Guoqiang returned to Chongqing and learned the technique of filigree inlay with Chongqing arts and crafts master Li Changyi. In 2017, accomplished Gu Guoqiang established an independent intangible cultural heritage studio in a rough room in Longxi Street, Yubei District, Chongqing. During the reporter's interview, Gu Guoqiang carefully took out his favorite work from the studio - a phoenix crown headdress that imitated the late Ming Dynasty imperial decree wife. Strangely, this phoenix crown only has a gold wire skeleton. Next, he took out multiple dragon and phoenix style tassel hair accessories and gradually assembled them onto the phoenix crown. In a short while, an elegant and atmospheric complete version of the phoenix crown was finally presented. The phoenix crown tassel tentacles trembled lightly, and the jade was shining, luxurious and exquisite. This work is called 'Phoenix Leads Nine Chicks', "Gu Guoqiang introduced. The dragon, phoenix, and tassel on the crown can be disassembled separately, and each can also be paired with a bun decoration, increasing the practicality of the crown. The combination of traditional forms, modern assembly forms, and practical combinations may be Gu Guoqiang's first innovative idea. In recent years, the innovative inheritance of intangible cultural heritage has received increasing social attention, and many traditional craftsmen such as Gu Guoqiang are contemplating the possibility of breaking the circle of intangible cultural heritage. If we only replicate existing styles and forms, it is difficult for traditional intangible cultural heritage techniques to break through, "Gu Guoqiang said. So, at the beginning of each year, the studio will set the theme for the new product of that year, and this year's theme is "Landscape". The patterns of filigree inlay techniques are generally flowers and birds, just like meticulous painting, which has clear lines and seals. However, traditional Chinese landscape painting emphasizes white space, vivid strokes, and emphasis on artistic charm, without clear seals. It is difficult to grasp this virtual and real relationship in the practice of filigree inlay techniques and requires a lot of effort to try. The continuous changes in design styles bring exploration and breakthroughs in production techniques. After a few moments