Mould.Lang Jia Ziyu, third generation descendant of Mianrenlang.I am Lang Jia Ziyu. I am a senior student at the International Relations Institute. I am the third generation descendant of Mianrenlang, as well as a teacher for dough modeling.My father said when I was 3 or 4 years old, I would watch him dough modeling. Hands-on practice always fascinates little kids, so I was no exception.When I was 4 or 5, I started to finish one piece on my own.
捏造，郎佳子彧，面人郎第三代传人，我叫郎佳子彧 ，现在就读于国际关系学院，大四，是北京面人郎第三代传人，同时也是面塑老师。听我父亲说大概三四岁左右，就会一直坐在他旁边看他捏面人，动手实操的（东西）很神奇，就特别吸引小朋友，所以我当时也不例外，大概是四五岁左右，自己尝试去独立地做一个作品。
The process of dough modeling started from the head to toe, from inside to outside. You see each part as small combination. Each combination starts from inside to outside, layer by layer, even the clothes. You have to have full control of the dough, no matter a thread or a block.
做面塑的过程是，从头到脚，然后从里到外，每一个部分你把它分成一个小的组合，每一个组合都是从里面到外边，一层层包裹上的，衣服也是一件一件穿上去的，你手中你要操作这面团，无论是一根还是一团，它是要完全听你的话的。
(The idea is good). Zhichun Lang, second generation descendant of Mianrenlang.(But I am afraid you will start all over again). (Let me try it).The themes of dough modeling that I have been dealing with, are mainly two parts: one is what my father taught me, the so-called heritage part of dough modeling traditional figures. It is the essential and basic part that you should master.For example, longevity god, servant, funeral maid, etc., relatively traditional figures. From a non-heritage point of view, if you see something as a traditional culture, then it means it is not of mainstream anymore. It is no longer from contemporary life, thus its audience is not as wide as before.
（想法是好的）郎志春 面人郎第二代传人 （我是怕这一段白捏）（试试吧）我所接触到的面塑题材，主要分为两个部分。第一个就是我爸教给我的，就是所谓的传承的部分，传统的一些形象项目，是你掌握这个技术的必要的一个门槛，比如说寿星，侍女，出殡的这些，就比较传统的，从非传承的角度来讲，就当一个东西它被称作是传统文化的时候，他就可能不那么主流了，它不再源于当代的生活，它的受众就没有以前那么的广了。
Another theme is about me, about how I feel, think, see and love in life. It is what I want to express though dough modeling. Only your theme is close to people’s daily life, then people will pay attention and show interest.Then it will have life.
我自己另外一部分（题材），就是生活当中我自己的所感所想，我看到的，我喜爱的，我想要通过面塑的方式能表达出来的，只有你的题材重新接近于当代人的生活的时候，人们才会更多地去关注，去喜欢，它才会有生命力。
It should be at around half of the body. Lang Jia Ziyu teaches dough-modeling classes at the Beijing Union University.(Its eyes should take 2/3 of the width on the top),Junior students at Union University have their own thoughts when they are doing their work. I might do something extra and start to teach dough modeling. But afterwards, I feel really relaxed. (Don’t put the eyes on the top of the head or down to where the mouth is.)
（位置大概是在身体的1/2）郎佳子彧到北京联合大学教授面塑课程。(然后它的眼睛占到了上面得2/3左右的宽度)，联合大学大三的学生，他们确实在自己做自己作品的时候。有自己的想法加在里面，虽然说我可能是额外地给自己增加了一些事情，就是去（教）做面塑，但完成之后会感觉精神上是比较放松的，（不要让它的眼睛长到头顶上去了）（也不要长到嘴的位置）。
I see teaching dough-modeling as a way of promotion. Even he won’t get into the dough modeling business further on, or quit doing it. But he has got to know dough modeling, and when he comes across it later, he would say, I have done it before.I have experienced it. I know how making Dough Figurine feels like.
把（教面塑）这个过程看做一个推广的过程，哪怕他今后没有从事面塑，或者说没有继续再做了，他曾经在他生活当中接触过这个东西，以后他再遇到面塑的时候，他会说，我曾经做过这个东西，我体会过，我知道捏面人是什么感觉。
There are 9 brothers and sisters from my dad’s generation, who know how to do dough modeling. He is the youngest. When it gets to my generation, the third generation of Mianrenlang, only me know how to do it. First generation of Mianrenlang, Liang Shaoan, "Corn Grasshopper" in 1981.Second generation of Mianrenlang, Liang Zhichun，"Five hundred Arhat Mountain" in 2015.Third generation of Mianrenlang，Lang Jia Ziyu, "paralysis" in 2016.
我父亲那一代一共他有九个兄弟姐妹（会做面塑），他是最小的一个，等到我这一代，就是面人郎第三代，到这就确实只剩我一个人（去做面塑）了，面人郎第一代，郎绍安《玉米蝈蝈》1981年，面人郎第二代，郎志春，《五百罗汉山》2015年，面人郎第三代，郎佳子彧，《瘫》2016年。
I see my life from the beginning to the end as a carrier for the dough modeling art. I don’t know what I can bring to dough modeling art.I hope one day I can get to teach my kid dough modeling, and the way would be different from how my dad taught me.
我认为我这个一生，我这个生命，从诞生到结束，这个生命体相当于一个载体，运载着面塑艺术这项手艺，我不知道我这一生能带给面塑什么，我只希望将来某一天，我把面塑这个手艺教给我的孩子的时候，它能与我父亲教给我时候不一样，就好了。
Create various faces and lives through dough modeling.Best stories can be told in affection.(Dirty braids gave me the life I want.) (We just want to be ourselves.)The places that you have never been .People can’t only live for safety.The amazing people that you have never met, the fine things that you have never known, the gourmet that you always choose to neglect.The life is way more interesting than movies, the legend from the ordinary people around you, a brief record of dreams and enthusiasm .I am a model of plus-size, why girls of plus-size can’t be models?They pass by bustling streets and dense crowd, only to meet with you.(He said, Guanzi, I want a home.)They have been sealed for years, and only want to share the deepest feelings with you.You can create happiness for others and yourself.
捏过民间百态颜，造出浮世千层味，最好的故事可以被深情讲述，(脏辫给了我想要的生活)（我们就是要做自己）是那些你从没有抵达过的远方，（人总不能是光为着安全的活着）。你未谋面过的俗世奇人 ，你没有接触过的精致造物，你常常选择忽略的温暖美食，他们是远比电影更加精彩的生活，是来自你身边平凡人的传奇，是饱含梦想和热情的简短记录。（我是一个大码的内衣模特）（为什么大码的女生就不可以做模特呢），它们在穿越熙熙攘攘的大街和密集的人群，只为和你相见，（他说，管子，我想要个家)，它们封存了多年，只愿和你一起，感受生命中， 最真挚的感动，（你可以自己制造快乐给别人）（也要制造快乐给自己）。
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