Porcelain inlaid handicrafts can not be replaced by other handicrafts in humid areas with large annual rainfall, high summer temperature and frequent typhoon influence, and will not fade after long-term exposure to wind, rain and scorching sun. Porcelain inlay has a unique artistic style, grand and reasonable layout and composition, rough and powerful lines, strong color contrast, liveliness and unity in comparison. Its subject matter is extensive, or heroes, famous officials and literati in history and Han folklore are used to reflect the people's spirit of promoting positive and restraining evil and being brave in making progress, which inspires and enlightens people; Or use flowers, insects, birds and animals symbolizing good luck and wealth to create an artistic atmosphere full of simple feelings of Chinese culture such as good luck, longevity, wishful thinking, prosperity and harmony. Because of its realistic style, solid texture, appealing to both refined and popular tastes and vivid objects, it is deeply loved by hipsters at home and abroad. Porcelain inlays decorated on the front of temples, ancestral temples and roofs are mostly based on dragons playing with pearls and phoenix playing with peony. The lines are rough and powerful, the composition is magnificent and the colors are gorgeous, which wins with great dynamics and great effects. The porcelain inlaid on the ridge and corner heads are mostly three-dimensional figures of civil and military crowns (three-star map). Most of the inlaid porcelain decorated on the wall under the eaves are flowers and birds, animals, fish and shrimp, insects and so on. Porcelain inlay on the zhaobi is very common, such as unicorn, lion, elephant, crane and deer. And their compositions are mostly symmetrical on both sides. Unique production technology: porcelain inlay crafts and house porcelain inlay decoration include flat inlay, floating inlay and three-dimensional inlay. Has a unique production skills: 1. Plastic embryo, commonly known as "bound tile bone" It is to use bricks and tiles to cut into rib members to be embedded in objects (the skeleton must be tied with iron wires before it can be embedded vertically), and to match it with mortar mixed with lime, brown sugar and toilet paper to shape the prototype; 2. Cutting tiles, commonly known as "cutting Rao". Skillful craftsmen often throw the complete porcelain on the hard ground or beat it with pliers, and use pliers to process it according to the shape of the cracked porcelain. 3. Embedding porcelain, commonly known as "sticking to Rao", that is, "embedding porcelain". The builder should have a certain modeling and color foundation, and the grade and level of the work depends on this process; 4. Comprehensive adjustment, from the perspective of overall composition, color setting, level, density, dynamics, modeling, etc., increase and decrease repeatedly (indoor parts and single handicrafts should be gilded, silvered and crossed, and some are decorated with glass beads and films). Inheritance: Chaoshan porcelain inlay artists mainly came from Puning, and the representative figures from Guangxu to the Republic of China in Qing Dynasty were artists such as Chen Wusheng and He Xiangyun. Before and after the founding of the People's Republic of China, there were artists such as Chen Ruxun and Chen Wenjiang. After the establishment of Puning Craft Factory in 1960s, there were more than 20 famous artists in the factory. Chen Hongxian, a famous inheritor of porcelain inlay in Puning, 1957, was born in Chishui, Puning. His father was a proud disciple of the ceramic mosaic master He Xiangyun, and Chen Hongxian was praised by his father and brother since childhood. Many works participated in the "10th Guangdong Art Festival" special exhibition hosted by Guangdong Provincial Department of Culture and undertaken by Guangdong Art Museum, and were collected by relevant units.