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As one of the pioneer batch of university students after the Great Culture Revolution， she has been a math teacher for 11 years， a judicial officer for 6 years， and run a catering company. As time goes by， she became more elegant and resilient. When traditional handicrafts were faced with the threat and might disappear， she resolutely put aside all her established success in her 40s and devoted all her energy and savings to the protection and promotion of a nationality’s culture and developed her favorite career. She is Liu Lijun， founder of Beijing Caisangzi Art Development Center and MIAOLOSOPHY Studio of Beijing Women Federation. Recently， the reporter interviewed Ms. Liu Lijun on the brand “MIAOLOSOPHY” and the development model of “Cai Sang Zi”.
她是恢复高考后的第一批大学生，当过11年的数学教师，做过6年的司法干警，还经营过13年的餐饮公司。
时光的荏苒，给予了她淡雅的气质和笃定的信念。
于是，当面对民间传统手工艺快速消失的困境之时，她在不惑之年毅然抛弃已然成功的一切，将全部精力和积蓄投入到了民族文化的保护与传承之中，同时也成就了自己狂热喜爱的事业。她就是北京采桑子文化艺术发展中心、北京妇联苗荟巧娘工作室的创始人——刘立军。近日，本刊记者专访了刘立军女士，且看“苗荟”品牌和“采桑子”模式如何在她的生命中光荣绽放！
The establishment of
the center
苦创“采桑子”
In 1996， Liu Lijun went to study in the University of Nottingham with her husband. She travelled in 15 cities of 8 European countries within two years. The museums of these cities unfolded the scroll of human civilization before her and she was overwhelmed by the exquisite art heritage. The moment she stepped out of British Museum， she asked herself： “What are exhibited in Chinese museums？”
In 1998， Liu Lijun and her husband returned to Beijing and spent a whole year to visit all the museums of Beijing and communicated with experts and working staff of the museums， through which she realized that the status quo and dilemma of the promotion of Chinese Culture -- protective measures could not counterbalance the speed of disappearance. Therefore， she told herself that she should do something.
From that moment on， she tried to search.
1996年，刘立军随丈夫到诺丁汉大学留学。两年间，她游历了欧洲8个国家15座城市，每到一地就一头扎进博物馆，灿烂的人类文明使她大开眼界，精美的艺术遗产让她流连忘返。在迈出大英博物馆门槛的那一刻，忽然一个声音在心底发问：“中国的文化展示在哪里？”
1998年，刘立军一家人返回北京。她又用一年时间把北京的大小博物馆走了一遍。通过与专家以及博物馆的工作人员交流，她发现当时中国文化传承的现状与困境——缓慢的保护跟不上消失的文明。于是，她的心底再一次发出了声音，“我能做些什么？”
自那一刻起，她便开始了一种朦胧中的寻找……
In 2000， she investigated and surveyed Chinese handicrafts and began to think about forming a cultural industry chain. Liu Lijun said， “I searched the internet and found that there was a Yi Bao Yuan folk cultural market in Shenzhen， which had good reputation. I went there enthusiastically， but it turned out to be a stall of the folk art products. It was low ended and not what I expected.” After spending two years on the research of the markets in the cities including Beijing， Shanghai and Guangzhou to investigate Chinese minority communities， I gradually designed a sustainable model of cultural promotion and combining culture and market. This model is centered on the reservation and promotion of traditional culture in terms of culture， and has a chain of market – research – train - produce – market. From 2002， Liu Lijun began to research on the culture of Miao and came to understand the minority with no script. “By collecting samples， I summed up more than 20 ways of ancient embroidery， refined various embroidery skills through personal practice. Also， I paid visits to silversmith to sort out traditional decorative patterns and processes. Finally， I collated all of these into electronic data，” Liu Lijun told the reporter.
2000年，她开始对中国手工艺进行调研，并构思文化产业链。刘立军颇为惋惜地跟记者说道，“当时我在网络上查询到深圳有个艺宝苑民俗文化市场，评价不错，我兴致勃勃地过去一看，结果就是一个全国民俗品的大地摊。过于低端，这不是我想要的。”两年时间，通过对北上广等各大城市的市场调研和对中国少数民族聚居区的田野调查，“我构思了一种可持续性发展的文化传承形式，将文化与商业结合。在文化的维度，以传统文化保留、传承为核心；商业的维度，以市场、研发、培训、生产、市场为链条。”
从2002年开始，刘立军开始了深入的苗文化研究，并逐渐领悟了这个没有文字的民族。“通过搜集标本，我总结了二十多种古老刺绣，打籽绣、马尾绣、平绣；通过学习，提炼了不同种类的刺绣技巧，如用皂角过线，使绣面平整鲜亮；我还拜访银匠世家，整理传统花纹和工艺，形成电子资料。”刘立军告诉记者。
The collecting system including batik， Miao embroidery and Miao silver wares was coming into shape. It elaborated the distribution， elapsed time， materials of Miao folk art products， presented the features of the ancient totem of Miao and revealed the chronological changes of the traditional decorative patterns. The symbols created with the inspiration of the traditional decorative patterns astonished contemporary designers.
Liu Lijun said， “I am not an anthropologist， neither a folk artist. As a lay person， I just want to try my best to record and sort out the folk art heritage of Miao. In addition， I want to create a completely fresh way to help the Miao people living remotely in the mountains to increase their incomes with the thousands of years’ craftsmanship； meanwhile， using this fresh way to enable the people beyond the mountains to know the ancient civilization and primitive art.” In September 2003， Beijing Cai Sang Zi Art Development Center registered officially.
一个包括蜡染，苗绣，苗银的母本收藏体系逐渐形成，理清了苗族民族手工艺品的分布、用时、耗材，理清了苗族原始图腾的特征及传统纹样的来历演变。这些从传统图案中派生出的符号，足以令现代设计师震惊。
“我不是人类学家，更不是民俗专家。作为普通人，一个门外汉，我只想尽自己绵薄之力，去记录和整理苗族民间文化遗产，以一种全新的方式让大山深处的苗家姐妹，通过祖传几千年的手工技艺增收致富。也让山外的城里人，能一同享受这古老的文明、原始的艺术。”2003年9月11日，北京采桑子文化艺术发展中心正式注册成立。
“Cai Sang Zi”
moving forward bravely
“采桑子”勇敢前行
“Cai Sang Zi Art Development Center is a social enterprise and as an enterprise， it has another name， i.e.， ‘MIAOLOSOPHY’， which means the essence of Miao art and creating the prospect of the folk art of China，” Liu said. At the beginning， she had completely no idea how complicated this project might be. Even though the whole process was full of bitterness， pressure and difficulty， she persisted. “Cai Sang Zi is my daughter and my dream is to expand it to the Fifth Avenue in New York，” she said with pride when interviewed by the reporter from the Office of Poverty Alleviation. In the early period， Cai Sang Zi took the embroidery products of Miao to a factory in Daxing district， Beijing for further framing to finally sell them in the market. By doing this， Cai Sang Zi hoped to bring the folk art products from the mountainous areas to cities， mix the ancient and modern features， and commercialize the traditional culture. Unfortunately， the shop did not withstand the test of the market and was closed soon.
However， Liu Lijun did not give up. She led the team of Cai Sang Zi to restart her research and development of products. In 2006， the team established a training center for women of Guizhou province and Shaanxi province and turned to different governments for distribution channels.
“采桑子文化艺术发展中心是社会企业，企业品牌叫‘苗荟’，打造的就是苗族文化的荟萃，也寓意‘描绘’中国民族民间传统文化的美好蓝图。”然而刘立军全然不知的是，这一朴素的想法原来是一个偌大的课题。解题过程使她饱尝了辛酸、折磨与压力。面对诸多难题，刘立军始终在坚持。“采桑子是我的女儿，我的梦想是做到纽约第五大道去！”刘立军在接受中国扶贫办记者的采访时，不无骄傲的说道。
在创立之初，采桑子将苗家妇女们做的半成品运送到北京的工厂，镶边裱框销售，希望完成民间工艺品从农村到城市，从古老到现代，从文化到商业的转变。然而，商店并没有经受住市场的考验，很快就关闭了。
刘立军没有就这样放弃。她带领采桑子团队开始重新研究产品，2006年，贵州、陕西的妇女培训基地建立，销售渠道也开始转向政府。
When her new business started to stand up， cultural research and commercial development began to “fight for” funds as batik， Miao embroidery and Miao silver wares had been included on the list of national human intangible heritage. “I noticed that these heritages were flowing away. Foreigners came to Miao villages to cheaply purchase the folk art products and sell them in the international markets in much higher price. What’s more， they would never be recovered again.” Therefore， Liu Lijun tried her best to purchase as much as 1000 products of batik， Miao embroidery and Miao silver， which cost a fortune.
Liu Lijun told the reporter， “The pre-market research took a large number of money， so it cannot circulate to support the development.” Both the project of cultural heritage and the producing process need much to support. What we should do is to balance the money invested into cultural heritage and producing process， rather than hiding away from the dilemma.
After years of endeavors， Cai Sang Zi managed to put the funds to production and market. Meanwhile， the understanding and support from governments and the public keep on growing. Women Federation of Shijingshan District， Beijing and the National Women Federation have offered vigorous support. Shanghai Love Fund presented the only social enterprise venture award to her， which inspire her greatly.
规模初见，而文化研究与商业开发却开始“争夺”资金。原来，蜡染、苗绣、银饰都被列入国家保护的人类非物质遗产名录，“我看它们在迅速流失，外国人来山寨廉价收购，拿到国际市场就翻成几十倍，更重要的是它们失而不可以复得。”于是刘立军尽其所能大量收购，蜡染、苗绣、银饰母本收藏各有1000多件，堪称宝库。但是大笔的资金永远压在那里了。 刘立军说，“前期调研投入了大量资金，到商业开发的时候，难以形成资金流的循环。”做文化传承要花钱，经营生产也要花钱。这个问题没有办法避免，必须要找到一个平衡点。
所幸，经过多年的奋斗和努力，采桑子已经可以把大部分资金调向生产和市场。同时，政府和社会对公益企业的理解和支持也日益壮大。比如，在北京市妇联和全国妇联的鼎力扶持，上海增爱基金会还把唯一一份社会企业创投大奖颁发给她，虽然数量并不巨大，但足以鼓舞刘立军。
Cai Sang Zi development model of MIAOLOSOPHY
“苗荟”的“采桑子模式”
Liu Lijun said in the interview， “Although in the whole process， fund raising has always been a big problem， what I am pursuing is to accomplish the mission of ‘inheriting culture through industry， alleviating poverty through culture industry’ and realize the dream of ‘incorporating folk art into modern life’， instead of generating commercial profits.”
Early in 2008， Liu Lijun learned the concept of social enterprises in an international seminar， which seemed to enlighten her. Through taking part in the training program for social entrepreneurship at the beginning of 2009， Liu Lijun came to see clearly the development model of Cai Sang Zi.
“In these years， I have been hoping to conclude and create a model to lead and promote the development of the whole industry， not just to train the women to produce and sell bags and earn some money. Finally， I got the development model of Cai Sang Zi – ‘inheriting culture through industry and alleviating poverty through culture industry’. The purpose of Cai Sang Zi is quite clear. It is to help the folk art incorporate into modern life. Only the enterprise which can really compete in the market can be called an industry， which further helps alleviate poverty. This is the model I have been seeking for， a replicable model. I hope that through the practice of Cai Sangzi， we can find a way to help solve social problems. Doing business is one of ways to reach the social purpose. Without the social meaning to preserve and promote culture， I would not have set up this business，” Liu Lijun said excitedly.
在采访中，刘立军告诉记者，“虽然一直以来资金问题是个大问题，但是我真的不仅是为了追求商业利润，而是我这样的社会企业终要达成‘产业传承文化，文化产业扶贫’使命和实现‘让民间工艺走进现代生活’的愿景。”
原来，早在2008年的一个国际研讨会上，刘立军接触到了社会企业的概念，“当时就有种‘笙歌散尽游人去，始觉春空。垂下帘栊，双燕归来细雨中’的感觉”。2009年初，她参加了英国大使馆文化教育处举办的社会企业家技能培训项目，并在这个过程中，逐渐明晰了采桑子的未来构架。
“其实，这么多年来，我一直希望能够总结和创造出一种模式，推动、引领整个行业，要从弘扬文化的角度把民间文化产业做起来，而不仅仅是做几个包、挣几个钱、卖一点东西、培训一点妇女。所以，我总结采桑子的理念是十二个字，就是‘产业传承文化，文化产业扶贫’。其实采桑子的愿景非常明确，就是要让民间手工艺品走进现代生活，只有真正的走进了市场，才能称之为产业，进而也就能扶贫了。这正是我一直摸索的采桑子模式，一种真正可复制的模式。我也希望通过我们实践，最终能够解决一定的社会问题。商业只是手段，通过这种商业手段最终能达到明确的社会目标。如果没有这个社会目标，没有传承文化，我真的不会做这个企业。”谈及此处，刘立军显得有些激动。
Starting from Miao folk art， but not limited to it， the brand “MIAOLOSOPHY” created by Cai Sang Zi is committed to investigating and promoting the essences of Chinese national folk culture， establishing cultural industry chain and achieving the sustainable goal： inheriting culture， alleviating poverty， searching for the commercial model of protecting， preserving and promoting social enterprises. We have set up training and production bases to help women in poverty-stricken areas to know more about the history and value of the folk art by training them， so that they can actively participate in the preservation and promotion process， and also increase their income and further their family-social status. The sustainable model of culture preservation and promotion by using the commercial way to inherit folk art， and using market to alleviate poverty is the model of Cai Sang Zi . Liu Lijun said， “After several years of struggling， we have established training centers in 6 counties， 14 towns and 81 villages across Guizhou and Shaanxi provinces. Until now， more than 2000 women have taken part in the training. Products of Cai Sang Zi have become the diplomatic gifts given by Chinese government to distinguished guests like Lien Chan， former Chairman of Taiwan’s ruling Kuomintang， and Sir Donald Tsang Yam-kuen， Hong Kong’s former chief executive. Folk art handicrafts finally have refined tastes.”
In June， 2011， Liu Lijun， led by Cui Yu， vice president of China Women’s Federation， headed to Tehran， Iran to participate in the 1st International Forum of Intangible Cultural Heritage of Iran and the International Expo of National Handicraft. Beijing Cai Sang Zi Art Development Center， as the only representative of China folk art industry， showed the charm of Miao folk art to the craftsmen across the globe. Liu Lijun introduced the model of Cai Sang Zi - “inheriting culture through industry and alleviating poverty through cultural industry” to the Director of Iran National Protection Center of Intangible Cultural Heritage. She promoted the Chinese culture.
In the early days of Cai Sang Zi Art Development Center， Liu Lijun assigned four tasks for the enterprise： digging up， sorting out and saving the intangible cultural heritage of Miao； helping Miao women to increase the income with the traditional skills； raising Miao women’s family and social status by increasing their incomes； and letting Miao folk art go beyond the mountains and enter international market. Now， the brand of “MIAOLOSOPHY” and the model of Cai Sang Zi based on cultural heritage have significantly increased the additional value of national products， raised the awareness of people from different countries on the Chinese culture and handicrafts and helped complete the four tasks.
从苗族文化起家，但不局限于苗文化。“采桑子”创立的“苗荟”品牌致力于研究和发展中国民族民间文化的精粹，通过建立文化产业链，实现可持续的文化扶贫目标：传承文化，扶助贫困，探索出民间文化保护、传承、进而发展的社会企业商业模式。通过建立培训生产基地，使贫困地区妇女认识自己民族的历史和文化，主动参与保护和传承，并提高其收入及在家庭和社会的地位。运用商业手段来传承民族技艺，利用市场经济来减少贫困的可持续的文化传承发展模式，这就是“采桑子模式”。
据刘立军介绍，“经过几年的实践，现在我们已在贵州、陕西、山东三省建立培训基地，遍布6个县、14个镇、81个自然村寨，有2000多名妇女通过订单参加培训。”采桑子的产品也成为中国政府重要外事礼品，民间手工艺品真正登上了大雅之堂。
2011年6月，刘立军在中华全国妇女联合会党组成员崔郁部长率领下，前往伊朗德黑兰参加了伊朗首届非物质文化遗产国际论坛暨民族手工艺国际博览会。北京采桑子文化艺术发展中心作为中国民间工艺的唯一代表，向来自不同国家的手工艺者展示了中国苗族民间艺术的魅力。期间，刘立军向伊朗国家非物质文化遗产保护中心主任汇报了产业传承文化、文化产业扶贫的“采桑子模式”，弘扬了民族文化乃至民族精神。
在采桑子文化艺术发展中心创立之初，刘立军曾雄心勃勃地为企业规定了四大任务：挖掘、整理、拯救苗族民间非物质文化遗产；帮助苗族妇女依靠传统技能增收致富；通过增加收入，帮助苗族妇女提高家庭和社会地位；让苗族民间艺术走出大山，走向世界。发展至今，“苗荟”品牌的树立和“采桑子模式”的创造，以文化传承为依托，大大提高了民族产品的附加值，提高了世界各国对中国民族文化和手工艺品的认知，使得这四大任务得以完成，并在刘立军的苗绣事业中大放异彩！
Postscript：
后记：
Liu Lijun plans to publish two historic books on Miao embroidery， trying to restore the reality of Miao embroidery and to present the cultural symbols and meaning behind each stitch. Communication and dissemination of international multi-culture， presentation of the hidden meaning of the Chinese culture and folk art need more people like Liu Lijun and more enterprises like Cai Sang Zi. We expect China Women’s Federation to mobilize all sections to replicate the model of Cai Sang Zi for more and more social enterprises to grow up.
如今，刘立军还将出版两本具有珍贵历史意义的苗绣手记，力图还原苗族刺绣的本源，深度挖掘苗绣一针一线背后所隐藏的文化符号和文化内涵。世界多元文化的交流和传播，中国民族文化与民间手工艺内涵的整理和挖掘，需要更多的刘立军和更多的“采桑子”出现。我们也期待中国妇联能够更快更好的整合多方资源，使“采桑子模式”得以不断的复制，使越来越多的社会企业得以出现并茁壮成长！
她是恢复高考后的第一批大学生，当过11年的数学教师，做过6年的司法干警，还经营过13年的餐饮公司。
时光的荏苒，给予了她淡雅的气质和笃定的信念。
于是，当面对民间传统手工艺快速消失的困境之时，她在不惑之年毅然抛弃已然成功的一切，将全部精力和积蓄投入到了民族文化的保护与传承之中，同时也成就了自己狂热喜爱的事业。她就是北京采桑子文化艺术发展中心、北京妇联苗荟巧娘工作室的创始人——刘立军。近日，本刊记者专访了刘立军女士，且看“苗荟”品牌和“采桑子”模式如何在她的生命中光荣绽放！
The establishment of
the center
苦创“采桑子”
In 1996， Liu Lijun went to study in the University of Nottingham with her husband. She travelled in 15 cities of 8 European countries within two years. The museums of these cities unfolded the scroll of human civilization before her and she was overwhelmed by the exquisite art heritage. The moment she stepped out of British Museum， she asked herself： “What are exhibited in Chinese museums？”
In 1998， Liu Lijun and her husband returned to Beijing and spent a whole year to visit all the museums of Beijing and communicated with experts and working staff of the museums， through which she realized that the status quo and dilemma of the promotion of Chinese Culture -- protective measures could not counterbalance the speed of disappearance. Therefore， she told herself that she should do something.
From that moment on， she tried to search.
1996年，刘立军随丈夫到诺丁汉大学留学。两年间，她游历了欧洲8个国家15座城市，每到一地就一头扎进博物馆，灿烂的人类文明使她大开眼界，精美的艺术遗产让她流连忘返。在迈出大英博物馆门槛的那一刻，忽然一个声音在心底发问：“中国的文化展示在哪里？”
1998年，刘立军一家人返回北京。她又用一年时间把北京的大小博物馆走了一遍。通过与专家以及博物馆的工作人员交流，她发现当时中国文化传承的现状与困境——缓慢的保护跟不上消失的文明。于是，她的心底再一次发出了声音，“我能做些什么？”
自那一刻起，她便开始了一种朦胧中的寻找……
In 2000， she investigated and surveyed Chinese handicrafts and began to think about forming a cultural industry chain. Liu Lijun said， “I searched the internet and found that there was a Yi Bao Yuan folk cultural market in Shenzhen， which had good reputation. I went there enthusiastically， but it turned out to be a stall of the folk art products. It was low ended and not what I expected.” After spending two years on the research of the markets in the cities including Beijing， Shanghai and Guangzhou to investigate Chinese minority communities， I gradually designed a sustainable model of cultural promotion and combining culture and market. This model is centered on the reservation and promotion of traditional culture in terms of culture， and has a chain of market – research – train - produce – market. From 2002， Liu Lijun began to research on the culture of Miao and came to understand the minority with no script. “By collecting samples， I summed up more than 20 ways of ancient embroidery， refined various embroidery skills through personal practice. Also， I paid visits to silversmith to sort out traditional decorative patterns and processes. Finally， I collated all of these into electronic data，” Liu Lijun told the reporter.
2000年，她开始对中国手工艺进行调研，并构思文化产业链。刘立军颇为惋惜地跟记者说道，“当时我在网络上查询到深圳有个艺宝苑民俗文化市场，评价不错，我兴致勃勃地过去一看，结果就是一个全国民俗品的大地摊。过于低端，这不是我想要的。”两年时间，通过对北上广等各大城市的市场调研和对中国少数民族聚居区的田野调查，“我构思了一种可持续性发展的文化传承形式，将文化与商业结合。在文化的维度，以传统文化保留、传承为核心；商业的维度，以市场、研发、培训、生产、市场为链条。”
从2002年开始，刘立军开始了深入的苗文化研究，并逐渐领悟了这个没有文字的民族。“通过搜集标本，我总结了二十多种古老刺绣，打籽绣、马尾绣、平绣；通过学习，提炼了不同种类的刺绣技巧，如用皂角过线，使绣面平整鲜亮；我还拜访银匠世家，整理传统花纹和工艺，形成电子资料。”刘立军告诉记者。
The collecting system including batik， Miao embroidery and Miao silver wares was coming into shape. It elaborated the distribution， elapsed time， materials of Miao folk art products， presented the features of the ancient totem of Miao and revealed the chronological changes of the traditional decorative patterns. The symbols created with the inspiration of the traditional decorative patterns astonished contemporary designers.
Liu Lijun said， “I am not an anthropologist， neither a folk artist. As a lay person， I just want to try my best to record and sort out the folk art heritage of Miao. In addition， I want to create a completely fresh way to help the Miao people living remotely in the mountains to increase their incomes with the thousands of years’ craftsmanship； meanwhile， using this fresh way to enable the people beyond the mountains to know the ancient civilization and primitive art.” In September 2003， Beijing Cai Sang Zi Art Development Center registered officially.
一个包括蜡染，苗绣，苗银的母本收藏体系逐渐形成，理清了苗族民族手工艺品的分布、用时、耗材，理清了苗族原始图腾的特征及传统纹样的来历演变。这些从传统图案中派生出的符号，足以令现代设计师震惊。
“我不是人类学家，更不是民俗专家。作为普通人，一个门外汉，我只想尽自己绵薄之力，去记录和整理苗族民间文化遗产，以一种全新的方式让大山深处的苗家姐妹，通过祖传几千年的手工技艺增收致富。也让山外的城里人，能一同享受这古老的文明、原始的艺术。”2003年9月11日，北京采桑子文化艺术发展中心正式注册成立。
“Cai Sang Zi”
moving forward bravely
“采桑子”勇敢前行
“Cai Sang Zi Art Development Center is a social enterprise and as an enterprise， it has another name， i.e.， ‘MIAOLOSOPHY’， which means the essence of Miao art and creating the prospect of the folk art of China，” Liu said. At the beginning， she had completely no idea how complicated this project might be. Even though the whole process was full of bitterness， pressure and difficulty， she persisted. “Cai Sang Zi is my daughter and my dream is to expand it to the Fifth Avenue in New York，” she said with pride when interviewed by the reporter from the Office of Poverty Alleviation. In the early period， Cai Sang Zi took the embroidery products of Miao to a factory in Daxing district， Beijing for further framing to finally sell them in the market. By doing this， Cai Sang Zi hoped to bring the folk art products from the mountainous areas to cities， mix the ancient and modern features， and commercialize the traditional culture. Unfortunately， the shop did not withstand the test of the market and was closed soon.
However， Liu Lijun did not give up. She led the team of Cai Sang Zi to restart her research and development of products. In 2006， the team established a training center for women of Guizhou province and Shaanxi province and turned to different governments for distribution channels.
“采桑子文化艺术发展中心是社会企业，企业品牌叫‘苗荟’，打造的就是苗族文化的荟萃，也寓意‘描绘’中国民族民间传统文化的美好蓝图。”然而刘立军全然不知的是，这一朴素的想法原来是一个偌大的课题。解题过程使她饱尝了辛酸、折磨与压力。面对诸多难题，刘立军始终在坚持。“采桑子是我的女儿，我的梦想是做到纽约第五大道去！”刘立军在接受中国扶贫办记者的采访时，不无骄傲的说道。
在创立之初，采桑子将苗家妇女们做的半成品运送到北京的工厂，镶边裱框销售，希望完成民间工艺品从农村到城市，从古老到现代，从文化到商业的转变。然而，商店并没有经受住市场的考验，很快就关闭了。
刘立军没有就这样放弃。她带领采桑子团队开始重新研究产品，2006年，贵州、陕西的妇女培训基地建立，销售渠道也开始转向政府。
When her new business started to stand up， cultural research and commercial development began to “fight for” funds as batik， Miao embroidery and Miao silver wares had been included on the list of national human intangible heritage. “I noticed that these heritages were flowing away. Foreigners came to Miao villages to cheaply purchase the folk art products and sell them in the international markets in much higher price. What’s more， they would never be recovered again.” Therefore， Liu Lijun tried her best to purchase as much as 1000 products of batik， Miao embroidery and Miao silver， which cost a fortune.
Liu Lijun told the reporter， “The pre-market research took a large number of money， so it cannot circulate to support the development.” Both the project of cultural heritage and the producing process need much to support. What we should do is to balance the money invested into cultural heritage and producing process， rather than hiding away from the dilemma.
After years of endeavors， Cai Sang Zi managed to put the funds to production and market. Meanwhile， the understanding and support from governments and the public keep on growing. Women Federation of Shijingshan District， Beijing and the National Women Federation have offered vigorous support. Shanghai Love Fund presented the only social enterprise venture award to her， which inspire her greatly.
规模初见，而文化研究与商业开发却开始“争夺”资金。原来，蜡染、苗绣、银饰都被列入国家保护的人类非物质遗产名录，“我看它们在迅速流失，外国人来山寨廉价收购，拿到国际市场就翻成几十倍，更重要的是它们失而不可以复得。”于是刘立军尽其所能大量收购，蜡染、苗绣、银饰母本收藏各有1000多件，堪称宝库。但是大笔的资金永远压在那里了。 刘立军说，“前期调研投入了大量资金，到商业开发的时候，难以形成资金流的循环。”做文化传承要花钱，经营生产也要花钱。这个问题没有办法避免，必须要找到一个平衡点。
所幸，经过多年的奋斗和努力，采桑子已经可以把大部分资金调向生产和市场。同时，政府和社会对公益企业的理解和支持也日益壮大。比如，在北京市妇联和全国妇联的鼎力扶持，上海增爱基金会还把唯一一份社会企业创投大奖颁发给她，虽然数量并不巨大，但足以鼓舞刘立军。
Cai Sang Zi development model of MIAOLOSOPHY
“苗荟”的“采桑子模式”
Liu Lijun said in the interview， “Although in the whole process， fund raising has always been a big problem， what I am pursuing is to accomplish the mission of ‘inheriting culture through industry， alleviating poverty through culture industry’ and realize the dream of ‘incorporating folk art into modern life’， instead of generating commercial profits.”
Early in 2008， Liu Lijun learned the concept of social enterprises in an international seminar， which seemed to enlighten her. Through taking part in the training program for social entrepreneurship at the beginning of 2009， Liu Lijun came to see clearly the development model of Cai Sang Zi.
“In these years， I have been hoping to conclude and create a model to lead and promote the development of the whole industry， not just to train the women to produce and sell bags and earn some money. Finally， I got the development model of Cai Sang Zi – ‘inheriting culture through industry and alleviating poverty through culture industry’. The purpose of Cai Sang Zi is quite clear. It is to help the folk art incorporate into modern life. Only the enterprise which can really compete in the market can be called an industry， which further helps alleviate poverty. This is the model I have been seeking for， a replicable model. I hope that through the practice of Cai Sangzi， we can find a way to help solve social problems. Doing business is one of ways to reach the social purpose. Without the social meaning to preserve and promote culture， I would not have set up this business，” Liu Lijun said excitedly.
在采访中，刘立军告诉记者，“虽然一直以来资金问题是个大问题，但是我真的不仅是为了追求商业利润，而是我这样的社会企业终要达成‘产业传承文化，文化产业扶贫’使命和实现‘让民间工艺走进现代生活’的愿景。”
原来，早在2008年的一个国际研讨会上，刘立军接触到了社会企业的概念，“当时就有种‘笙歌散尽游人去，始觉春空。垂下帘栊，双燕归来细雨中’的感觉”。2009年初，她参加了英国大使馆文化教育处举办的社会企业家技能培训项目，并在这个过程中，逐渐明晰了采桑子的未来构架。
“其实，这么多年来，我一直希望能够总结和创造出一种模式，推动、引领整个行业，要从弘扬文化的角度把民间文化产业做起来，而不仅仅是做几个包、挣几个钱、卖一点东西、培训一点妇女。所以，我总结采桑子的理念是十二个字，就是‘产业传承文化，文化产业扶贫’。其实采桑子的愿景非常明确，就是要让民间手工艺品走进现代生活，只有真正的走进了市场，才能称之为产业，进而也就能扶贫了。这正是我一直摸索的采桑子模式，一种真正可复制的模式。我也希望通过我们实践，最终能够解决一定的社会问题。商业只是手段，通过这种商业手段最终能达到明确的社会目标。如果没有这个社会目标，没有传承文化，我真的不会做这个企业。”谈及此处，刘立军显得有些激动。
Starting from Miao folk art， but not limited to it， the brand “MIAOLOSOPHY” created by Cai Sang Zi is committed to investigating and promoting the essences of Chinese national folk culture， establishing cultural industry chain and achieving the sustainable goal： inheriting culture， alleviating poverty， searching for the commercial model of protecting， preserving and promoting social enterprises. We have set up training and production bases to help women in poverty-stricken areas to know more about the history and value of the folk art by training them， so that they can actively participate in the preservation and promotion process， and also increase their income and further their family-social status. The sustainable model of culture preservation and promotion by using the commercial way to inherit folk art， and using market to alleviate poverty is the model of Cai Sang Zi . Liu Lijun said， “After several years of struggling， we have established training centers in 6 counties， 14 towns and 81 villages across Guizhou and Shaanxi provinces. Until now， more than 2000 women have taken part in the training. Products of Cai Sang Zi have become the diplomatic gifts given by Chinese government to distinguished guests like Lien Chan， former Chairman of Taiwan’s ruling Kuomintang， and Sir Donald Tsang Yam-kuen， Hong Kong’s former chief executive. Folk art handicrafts finally have refined tastes.”
In June， 2011， Liu Lijun， led by Cui Yu， vice president of China Women’s Federation， headed to Tehran， Iran to participate in the 1st International Forum of Intangible Cultural Heritage of Iran and the International Expo of National Handicraft. Beijing Cai Sang Zi Art Development Center， as the only representative of China folk art industry， showed the charm of Miao folk art to the craftsmen across the globe. Liu Lijun introduced the model of Cai Sang Zi - “inheriting culture through industry and alleviating poverty through cultural industry” to the Director of Iran National Protection Center of Intangible Cultural Heritage. She promoted the Chinese culture.
In the early days of Cai Sang Zi Art Development Center， Liu Lijun assigned four tasks for the enterprise： digging up， sorting out and saving the intangible cultural heritage of Miao； helping Miao women to increase the income with the traditional skills； raising Miao women’s family and social status by increasing their incomes； and letting Miao folk art go beyond the mountains and enter international market. Now， the brand of “MIAOLOSOPHY” and the model of Cai Sang Zi based on cultural heritage have significantly increased the additional value of national products， raised the awareness of people from different countries on the Chinese culture and handicrafts and helped complete the four tasks.
从苗族文化起家，但不局限于苗文化。“采桑子”创立的“苗荟”品牌致力于研究和发展中国民族民间文化的精粹，通过建立文化产业链，实现可持续的文化扶贫目标：传承文化，扶助贫困，探索出民间文化保护、传承、进而发展的社会企业商业模式。通过建立培训生产基地，使贫困地区妇女认识自己民族的历史和文化，主动参与保护和传承，并提高其收入及在家庭和社会的地位。运用商业手段来传承民族技艺，利用市场经济来减少贫困的可持续的文化传承发展模式，这就是“采桑子模式”。
据刘立军介绍，“经过几年的实践，现在我们已在贵州、陕西、山东三省建立培训基地，遍布6个县、14个镇、81个自然村寨，有2000多名妇女通过订单参加培训。”采桑子的产品也成为中国政府重要外事礼品，民间手工艺品真正登上了大雅之堂。
2011年6月，刘立军在中华全国妇女联合会党组成员崔郁部长率领下，前往伊朗德黑兰参加了伊朗首届非物质文化遗产国际论坛暨民族手工艺国际博览会。北京采桑子文化艺术发展中心作为中国民间工艺的唯一代表，向来自不同国家的手工艺者展示了中国苗族民间艺术的魅力。期间，刘立军向伊朗国家非物质文化遗产保护中心主任汇报了产业传承文化、文化产业扶贫的“采桑子模式”，弘扬了民族文化乃至民族精神。
在采桑子文化艺术发展中心创立之初，刘立军曾雄心勃勃地为企业规定了四大任务：挖掘、整理、拯救苗族民间非物质文化遗产；帮助苗族妇女依靠传统技能增收致富；通过增加收入，帮助苗族妇女提高家庭和社会地位；让苗族民间艺术走出大山，走向世界。发展至今，“苗荟”品牌的树立和“采桑子模式”的创造，以文化传承为依托，大大提高了民族产品的附加值，提高了世界各国对中国民族文化和手工艺品的认知，使得这四大任务得以完成，并在刘立军的苗绣事业中大放异彩！
Postscript：
后记：
Liu Lijun plans to publish two historic books on Miao embroidery， trying to restore the reality of Miao embroidery and to present the cultural symbols and meaning behind each stitch. Communication and dissemination of international multi-culture， presentation of the hidden meaning of the Chinese culture and folk art need more people like Liu Lijun and more enterprises like Cai Sang Zi. We expect China Women’s Federation to mobilize all sections to replicate the model of Cai Sang Zi for more and more social enterprises to grow up.
如今，刘立军还将出版两本具有珍贵历史意义的苗绣手记，力图还原苗族刺绣的本源，深度挖掘苗绣一针一线背后所隐藏的文化符号和文化内涵。世界多元文化的交流和传播，中国民族文化与民间手工艺内涵的整理和挖掘，需要更多的刘立军和更多的“采桑子”出现。我们也期待中国妇联能够更快更好的整合多方资源，使“采桑子模式”得以不断的复制，使越来越多的社会企业得以出现并茁壮成长！