Su Nian's fingertips are always wrapped with raw lacquer specially used for gold-plating, which can make the broken porcelain pieces shine again in her palm. As the only descendant of the Su family's ancient kiln technology, she guards the restoration studio in the old neighborhood like she is guarding the last kiln fire left by her parents - the "accident" twenty years ago reduced the Su family kiln factory to ashes, leaving only half a celadon jade pendant around her neck.
Amidst the roar of bulldozers rolling over bluestone slabs, she saw Lee Soo Hyuk for the first time. This real estate developer in a suit and ties was directing the demolition of the old house next to her studio, with a sneer on his face: "You want to make a fortune just by piling up broken ceramic tiles? How ridiculous."
During the protest and confrontation, he saw her squatting in the ruins, crying at the dandelions emerging from the cracks in the rocks. She cried because she lamented the tenacious vitality of living things. With plants like this, how could she give up? She would never give in to the demolition. What's more, this demolition site contains the only traces of her remaining home.
Lee Soo-hyuk pushed forward the project with an iron fist, but suddenly stopped when the excavator shoveled out half of the Qing Dynasty blue and white bowl. The half jade pendant embedded in the crack of the porcelain bowl fit perfectly with the one on Su Nian's neck. What's even more shocking is that the celadon seal in the inner pocket of his suit, known as the "Li family heirloom", has the words "Su Ji Kiln" clearly engraved on the bottom.
The truth of twenty years ago was like a piece of porcelain cracking: his grandfather used despicable means to seize the Su family kiln factory and forced Su's father and mother to death, and the seal was the token of the robbery.
When Su Nian used gold tape to piece the two halves of the jade pendant together, the arc of the gold paint running along the crack was very much like the line between the two people - one end was the blood feud, and the other was the throbbing that quietly grew in the ruins and that even he did not dare to admit. Repairing this broken past may be harder than repairing any porcelain.
Purpose: Using goldsmithing as a metaphor to explore the deep relationship between "brokenness and redemption": old family grudges are like broken porcelain. Although the cracks are indelible, in the process of facing the pain, understanding and forgiveness can be used as the "golden paint", allowing the past scars to become unique marks connecting each other. At the same time, through the conflict between the inheritance and demolition of the Su family's ancient kilns, we reflect on the game between tradition and development in modern society - real progress is never a separation of history, but like gold repair, giving new vitality to old things on the basis of respecting the past. The tug between hatred and affection between the male and female protagonists reveals the complexity of human nature: even if they are burdened with blood feud, love can still take root in the ruins, proving that the possibility of redemption never only lies in the restoration of artifacts, but also in the reconciliation of people's hearts.