Wan Guanghong – Representative Inheritor of Black Copper Silver-decorating Skill Project in Longyang District, Baoshan

保山市隆阳区板桥镇乌铜走银制作技艺项目代表性传承人 – 万光红

http://www.ynich.cn/view-ml-13111-3145.html

Introduction to Yuan Kunlin

Yuan Kunlin (袁昆林), born in 1973, is a male member of the Han ethnic group from Tiancheng (天城) Village in Jincheng Town, Jinning District, Kunming, Yunnan. He is the representative inheritor of the Black Copper Silver-decorating Skill (乌铜走银), a traditional craftsmanship passed down in his family for generations. Yuan Kunlin learned the craft from his father, Yuan Wanli (袁万里), and has devoted over 30 years to mastering and innovating this unique art.

Early Beginnings and the Inheritance of Craftsmanship

In the 1980s, Yuan Kunlin’s father, Yuan Wanli, passed on the art of Black Copper Silver-decorating to Yuan Kunlin and his brother, Yuan Guilin (袁贵林). Despite initial resistance from his young son, Yuan Wanli insisted on teaching him the craft, believing that the family’s tradition of over three generations should continue. Through dedication and persistence, Yuan Kunlin eventually mastered the craft by the time he was in his late twenties.

Mastering the Black Copper Silver-decorating Technique

The Black Copper Silver-decorating technique is a complex and intricate art form that involves combining copper with silver through a special forging process. The copper sheets used for carving are not ordinary—they are carefully mixed with a precise ratio of gold, pure silver, and other precious metals to form an alloy called “black copper.” This alloy is then forged into various thicknesses before being engraved with intricate patterns. Once the patterns are engraved, molten silver is poured into the grooves, fusing with the copper to create a striking visual effect of black copper with silver patterns.

Creating Exquisite Artworks

Yuan Kunlin’s Black Copper Silver-decorating works are known for their detailed craftsmanship and intricate designs. These products include vases, pen holders, ink boxes, teapots, pipe heads, and hookah pipes. The finished works display a distinctive visual contrast of black copper and silver, standing out among other copper artworks with their elegant, one-of-a-kind beauty.

Key Steps in the Craft Process

1. Forging the Black Copper Sheets: Yuan Kunlin first creates the black copper alloy, forging it into sheets of varying thicknesses.
2. Engraving Patterns: Intricate patterns are carved into the copper sheets by hand.
3. Incorporating Silver: The silver is melted and poured into the carved grooves, fusing with the copper to create a unified design.
4. Finishing Touches: The piece undergoes several finishing steps, including shaping, assembling, polishing, and blackening, to complete the craft.

The result is a beautifully crafted piece of art that shines between black and white, with intricate silver patterns embedded within the dark copper.

Overcoming Challenges in Learning the Craft

Yuan Kunlin faced many challenges during his early years of learning the craft. As a teenager, he was initially resistant to following his father’s footsteps, preferring to pursue other interests. However, his father was firm in his belief that the family tradition must be carried on, leading Yuan Kunlin to settle down and focus on mastering the craft. This dedication, combined with his persistence, allowed him to overcome the challenges and become a highly skilled artisan.

Innovation and Growth in the Craft

In 1993, Yuan Kunlin began creating Black Copper Silver-decorating items and eventually reached a point where he felt the need to innovate. To break through the creative bottleneck, he traveled to Kunming and Dali to study various engraving techniques, broadening his skills and knowledge. His work, including the “Three Water Birds Handle Teapot,” blends bas-relief techniques with ancient Dian Kingdom culture, marking the invention of the Black Copper Silver-decorating relief style.

Additionally, Yuan Kunlin studied silver-making techniques in Heqing, Dali, and upgraded the traditional single-body technique to a double-body method, becoming the only craftsman at the time to use this approach.

Recognition and Legacy

Today, Yuan Kunlin holds several prestigious titles, including Representative Inheritor of the Black Copper Silver-decorating technique in Yunnan Province, Master of Yunnan Arts and Crafts, and Director of the Jinning District Black Copper Silver-decorating Craftsmanship Museum. Despite his recognition, Yuan Kunlin prefers a simple life as a craftsman, focusing on his workshop and continuing to innovate in his craft. He expresses, “I am willing to stay in the marketplace and keep making Black Copper Silver-decorating my lifelong companion.”

The Future of the Craft

In Chinese arts and crafts, Black Copper Silver-decorating is regarded as one of the “two greatest copper arts” in China, alongside Beijing’s Cloisonné. As modern techniques have gained popularity, fewer people are able to master this ancient craft. However, Yuan Kunlin is optimistic about the future of Black Copper Silver-decorating, believing that younger generations are bringing fresh ideas and innovation to the craft. He has observed the growing passion for this art among his students and believes that their new perspectives will only improve the tradition.

A Humble Artisan

Although Yuan Kunlin has received considerable recognition, he remains a humble and quiet artisan. He is not one to seek fame or praise, preferring to work diligently in his workshop. In the face of external opinions, Yuan Kunlin simply smiles and returns to his work, continuing his lifelong journey of crafting Black Copper Silver-decorating pieces.

Chinese Version

Yu Ershuai (玉儿甩), born in 1958 in Manluandian Village Group (曼乱点村小组), Manmai Village (曼迈村), Gasa Town (嘎洒镇), Jinghong City (景洪市), Xishuangbanna Dai Autonomous Prefecture (西双版纳傣族自治州), represents the fifth generation of a distinguished Dai brocade (傣锦) weaving family.

Master Weaver’s Journey

From Apprentice to National Treasure

Trained by her grandmother and mother, Yu mastered by age 15:

• Cotton fluffing and spinning
• Intricate weaving techniques
• Natural dyeing processes
• Complex pattern arrangement

Her repertoire includes 60+ traditional items:

Ceremonial Buddhist banners
Ornate bed coverings
Decorative pieces featuring:

• Peacocks and pagodas
• Floral and geometric patterns
• Anthropomorphic designs

Professional Distinctions

Honors and Recognitions

Yu’s accolades include:

• National Intangible Cultural Heritage Inheritor (2018)
• Provincial Dai Brocade Technique Inheritor
• “Dai Artisan (傣乡工匠)” title recipient
• Yunnan’s “Cloud Ridge Chief Technician” honor

Cultural Stewardship

Weaving Knowledge Across Generations

Yu’s teaching legacy:
500+ apprentices trained
Regular lectures at:

• Yunnan Arts University
• Zhejiang University
• Chongqing Arts Institute

International demonstrations:

• 2019 Japan Cultural Exchange
• Huangshan Intangible Heritage Exhibition

Socioeconomic Impact

Threads of Prosperity

Through Xishuangbanna Banjin Dai Brocade Cultural Industry Co., Ltd (西双版纳版锦傣族织锦文化产业有限公司), established with her son Yan Hanbing (岩罕丙), Yu implements:

• “Company+Cooperative+Households” model
• Free training with lodging
• Market expansion strategies

Results include:

• Revitalized village economies
• Increased household incomes
• Global recognition of Dai textiles

Preservation Framework

Safeguarding a Living Heritage

Since Dai brocade’s 2008 national ICH listing:

Training Centers

• Manluandian Village (曼乱点村) workshop
• Annual technical workshops

Policy Support

• Government-sponsored promotion
• Cross-village learning initiatives

Commercial Development

• Hybrid production models
• Contemporary design integration

Yu Ershuai’s career embodies the perfect synthesis of cultural preservation and innovative adaptation, ensuring this ancient craft continues thriving in the modern era.

For Chinese version please go to:
http://www.ynich.cn/view-ml-13111-3148.html

Mi Me (咪么), born in 1957 in Mengxing Lower Village (勐醒下寨), Manbian Village Committee (曼边村委会), Menglun Town (勐仑镇), Mengla County (勐腊县), Xishuangbanna Dai Autonomous Prefecture (西双版纳傣族自治州), is a representative inheritor of Dai brocade weaving techniques.

For Chinese version please go to:
http://www.ynich.cn/view-ml-13111-3149.html

Profile of He Yuxin

He Yuxin, male, Naxi ethnicity, was born in October 1954 in Baidi Village (白地村), Sanba Naxi Ethnic Township (三坝纳西族乡), Shangri-La County (香格里拉县), Diqing Tibetan Autonomous Prefecture (迪庆藏族自治州). He is the representative inheritor of the Dai and Naxi traditional papermaking craft.

Inheritance Background

Born into a Dongba (东巴) family, He Yuxin was deeply influenced by traditional culture from childhood. His father He Zhiben was among the first group of national-level intangible cultural heritage inheritors for Dai and Naxi papermaking. In 1992, He Yuxin formally learned the craft from his father, and after nearly 20 years of practice and refinement, his skills have matured significantly.

Traditional Papermaking Craft

The Naxi Dongba paper (东巴纸), also called Baidi paper (白地纸), features unique production techniques primarily preserved in Baidi Village (白地村). Baidi (白地) (White Water Terrace) is the birthplace of Naxi Dongba culture, and Dongba paper serves as the most important medium for writing Dongba scriptures.

The papermaking process includes:

• Raw material collection
• Sun-drying
• Soaking
• Boiling
• Washing
• Pulp pounding
• Paper casting
• Sheet pasting
• Sun-drying

Main tools include:

• Paper screens
• Wooden frames
• Drying boards
• Wooden mortars

Characteristics of Dongba paper:

• Ivory-white color
• Thick yet flexible texture
• Uniform thickness
• Coarse fibers
• Mothproof properties
• Exceptional durability

Inheritance and Influence

He Yuxin has mastered the complete Naxi papermaking technique and enjoys high recognition locally. His Baidi paper (白地纸) is revered by Dongba practitioners as premium material and widely used among locals. Since 1999, his craftsmanship has attracted attention from domestic and international media and academic institutions. He has trained his son He Shujun as the next inheritor to continue this ancient craft.

Preservation and Transmission

The Naxi papermaking tradition follows strict patrilineal inheritance through family workshops, making its continuation challenging in modern society. As an inheritor, He Yuxin not only fulfills his father’s legacy but also actively cultivates apprentices to ensure the craft’s survival.

He Yuxin’s contributions extend beyond technical mastery – as the representative inheritor of Dai and Naxi papermaking, he has made significant efforts to preserve and promote this intangible cultural heritage.

For Chinese version please go to:
http://www.ynich.cn/view-ml-13111-3150.html

Background and Heritage

Su Zhaoxiang (苏照祥), male, of Hani (哈尼族) ethnicity, was born in 1957 in Yangjie Township (羊街乡), Yuanjiang Hani, Yi and Dai Autonomous County (元江哈尼族彝族傣族自治县), Yuxi City (玉溪市). He is a provincial-level representative inheritor of the intangible cultural heritage project of bamboo musical instrument craftsmanship.

Learning and Inheritance

Growing up in a Hani (哈尼族) village, Su Zhaoxiang (苏照祥) began learning bamboo musical instrument craftsmanship from his father at the age of eight. With exceptional talent and diligent practice, he gradually mastered this unique skill. Over the years, he has created dozens of types of bamboo instruments, including zhudi (竹笛), mentong (闷筒), zhusuoguan (竹索管), obi (哦哔), bili (哔哩), covering high, middle, and low tonal ranges.

Artistic Characteristics

Su Zhaoxiang’s (苏照祥) bamboo instruments retain traditional craftsmanship while incorporating creative innovations. His instruments feature novel shapes and unique designs that reflect both local characteristics and modern aesthetics. His playing techniques are diverse—blowing, tapping, striking, shaking, plucking, and scraping—enabling him to produce beautiful music from simple instruments.

Inheritance and Preservation

Fully aware of the cultural value and significance of bamboo musical instrument craftsmanship, Su Zhaoxiang (苏照祥) actively participates in efforts to preserve intangible cultural heritage. He teaches the craft in his village and promotes it through cultural events and performances, introducing more people to this traditional art. In August 2009, bamboo musical instrument craftsmanship was successfully listed in the second batch of Yunnan Province’s (云南省) intangible cultural heritage items.

Cultural Activities and Showcases

Su Zhaoxiang (苏照祥) has participated in several important cultural activities, including:

Nie Er Bamboo Orchestra (聂耳竹乐团)

As a key member of the Nie Er Bamboo Orchestra, Su Zhaoxiang (苏照祥) has taken part in numerous domestic and international performances, showcasing the unique charm of bamboo musical instruments.

International Performances

In 2008, he participated in the closing ceremony performance of the Beijing Olympic Games (北京奥运会). In 2009, he performed in the cultural show at the closing ceremony of the Shanghai World Expo (上海世博会).

Local Cultural Activities

Su Zhaoxiang (苏照祥) also actively takes part in local events such as cultural festivals and folk activities in Yuanjiang County (元江县), where he promotes bamboo musical instrument craftsmanship through live performances and demonstrations.

As a master of bamboo musical instrument craftsmanship, Su Zhaoxiang (苏照祥) has not only achieved great artistic accomplishments but also made significant contributions to the transmission and promotion of this intangible cultural heritage.

International Performances by Su Zhaoxiang: Unique Aspects

1. Cultural Exchange and Recognition

• Global Exposure: Su Zhaoxiang’s participation in international events such as the Beijing Olympics and Shanghai World Expo has provided a global platform for showcasing the unique charm of bamboo musical instruments. These performances have not only highlighted the cultural significance of these instruments but also garnered international recognition.
• Cultural Enrichment: His performances have enriched the cultural landscape of these international events, offering a glimpse into the rich musical heritage of Yunnan. This exposure has helped bridge cultural gaps and foster a deeper understanding of traditional Chinese music.

2. Innovative Performances

• Diverse Instruments: Su Zhaoxiang is known for his ability to create and play a wide variety of bamboo instruments, each with unique sounds and techniques. This diversity has captivated audiences with its novelty and creativity.
• Unique Playing Techniques: His mastery of various playing techniques, including blowing, striking, and scraping, has added a unique dimension to his performances. These techniques have been praised for their ability to evoke a wide range of emotions and musical expressions.

3. Educational and Outreach Activities

• Workshops and Demonstrations: Su Zhaoxiang actively participates in workshops and demonstrations, sharing his knowledge and skills with a global audience. These activities have not only promoted the art of bamboo instrument making but also inspired a new generation of artisans.
• Cultural Exchange Programs: His involvement in cultural exchange programs has facilitated the transfer of knowledge and skills across borders, fostering a sense of global cultural unity.

4. Impact and Reception

• Audience Engagement: His performances have been met with overwhelming enthusiasm and appreciation from international audiences. The unique sounds and visual appeal of the bamboo instruments have left a lasting impression on viewers.
• Media Coverage: Su Zhaoxiang’s international performances have received extensive media coverage, further enhancing the visibility and recognition of bamboo musical instruments. This coverage has helped to spread awareness of the cultural significance of these instruments globally.

5. Cultural Preservation and Innovation

• Combining Tradition and Modernity: Su Zhaoxiang’s approach to bamboo instrument making combines traditional craftsmanship with modern design elements. This fusion has created instruments that are both culturally authentic and visually appealing to contemporary audiences.
• Sustainability and Innovation: His efforts to innovate and adapt traditional techniques have ensured the sustainability of this art form, making it relevant in the modern world. This approach has helped to preserve the cultural heritage while ensuring its continued relevance and appeal.

For Chinese version please go to:
http://www.ynich.cn/view-ml-13111-3140.html

Background

Meng Zigang (蒙自刚), male, of the Zhuang ethnic group, was born in 1974 in Poxian Village (坡现村), Babao Town (八宝镇), Guangnan County (广南县), Wenshan Zhuang and Miao Autonomous Prefecture (文山壮族苗族自治州), Yunnan Province (云南省). He is a representative inheritor of the Zhuang silverware crafting technique in Babao Town. Born into a family of silversmiths, he developed a deep interest in traditional Zhuang silverware making from a young age.

Learning the Craft and Cultural Inheritance

Meng Zigang began learning the craft from his father at the age of 12 and officially started working in silver crafting in 1994. Under the guidance of his elders, he acquired many refined techniques. Later, he left the Guangnan Silverware Association to start his own business at home.
In June 2010, he was recognized as a “Provincial Representative Inheritor of Yunnan Province Intangible Cultural Heritage” by the Yunnan Provincial Department of Culture and the Ethnic Affairs Commission. In 2016, he was honored as an “Outstanding Inheritor of Guangnan County Intangible Cultural Heritage” and received two honorary certificates from the China Yangtze River Intangible Cultural Exhibition.

Innovation and Development

Despite a shrinking market, Meng Zigang persevered and began to shift public perception. Through continuous learning and training, he improved his techniques and merged traditional craftsmanship with modern aesthetics to appeal to contemporary tastes.
He was the first in Poxian Village to move into a commercial area on the pedestrian street in Babao Town and established a storefront for silverware production and sales.
Innovatively, he combined traditional ethnic designs with new techniques such as filigree inlay (掐丝), flower assembling (攒花), welding, knotting, cloisonné on copper base (铜胎掐丝珐琅), filigree embedding (花丝镶嵌), and engraving (錾刻), applying various types of embossed (浮雕) designs to jewelry. These techniques greatly enhanced the three-dimensionality and artistic layering of his silver pieces.

Inheritance and Teaching

Meng Zigang established training workshops in Babao Town to teach his craft to younger generations. He also runs a free apprenticeship program at his home-based studio, teaching every aspect of silverware making in great detail—one strike, one chisel at a time.

As a representative inheritor of the Zhuang silverware craft, Meng Zigang is not only highly skilled but also deeply committed to the preservation and transmission of this intangible cultural heritage.

Meng Zigang’s Innovations in Traditional Craftsmanship

Integration of Traditional and Modern Techniques

Mechanized Production: Meng Zigang introduced mechanical equipment for early production processes such as silver melting and hammering, significantly improving efficiency. This allowed him to devote more time to design and detailed carving.
Innovative Design: Through training and observing outstanding works, he continuously refreshed his design ideas, combining traditional patterns with modern aesthetics to create silverware that better suits contemporary tastes.

Technical Innovations

Multi-layered Designs: He pioneered multi-layered silver jewelry designs, enhancing visual depth and texture. These artistic upgrades increased the decorative appeal and cultural value of his pieces.
Embossing Techniques: By integrating embossed reliefs with varied shapes and depths into jewelry, he brought vivid life to silver adornments.
Application of New Techniques: Meng combined ethnic elements with advanced craftsmanship techniques including filigree, flower assembling, welding, knotting, cloisonné on copper, filigree inlay, and engraving.

Market Expansion and Transmission

Establishment of a Heritage Workshop: Meng Zigang set up a heritage learning center to freely teach apprentices and ensure the continuation of the craft.
Product Diversification: In addition to traditional jewelry, he developed new silver products such as teapots and silver sculptures, boosting market competitiveness.
Online and Offline Sales: Beyond traditional in-person sales, Meng also leveraged e-commerce platforms to reach a wider audience and promote Zhuang silverware globally.

Cultural Transmission and Social Responsibility

Promotion of Ethnic Culture: His silverware not only serves as artistic expression but also as a vessel of Zhuang cultural heritage.
Rural Revitalization: His work has created income opportunities for local villagers, helping to alleviate poverty and stimulate local economic development.

Through these innovations, Meng Zigang has breathed new life into Zhuang silverware craftsmanship, safeguarding traditional techniques while advancing the culture in a modern context.

Artistic Features of Meng Zigang’s Silverware Works

Fusion of Tradition and Modernity

While preserving traditional craftsmanship, Meng incorporated modern technologies and design philosophies. His evolving mindset and improved techniques led to silver ornaments that better match modern aesthetics. For instance, he created fresh styles that blend traditional motifs with contemporary design.

Multi-layered Design and Embossed Art

Meng pioneered multi-layered silver jewelry, enriching its dimensional and textural appeal. He applied embossed reliefs with diverse shapes and intricate depth into his pieces, significantly enhancing their artistic value and visual impact.

Ethnic Characteristics and Cultural Symbolism

Meng’s silverware strongly reflects ethnic identity. He designed symbolic silver ornaments based on cultural elements of the Zhuang, Miao (苗族), and Yao (瑶族) peoples—for example, necklaces and bracelets worn by Zhuang brides and traditional silver adornments used in Yao weddings.

Masterful Craftsmanship

Each piece crafted by Meng Zigang undergoes a meticulous process involving “a thousand hammers and ten thousand strikes.” He has mastered numerous techniques, including filigree, flower assembling, welding, knotting, cloisonné on copper base, filigree inlay, and engraving.

Diversified Product Range

Besides traditional silver jewelry, Meng developed a variety of new items like silver teapots and sculptural decorations, catering to broader consumer demand and enhancing the commercial viability of Zhuang silverware.

Cultural Heritage and Social Impact

Meng places great importance on passing down the tradition. He set up a heritage workshop in the bustling pedestrian area of Babao Town to teach students for free. His aim is to ensure that the Zhuang silverware craft continues to thrive for future generations.

Meng Zigang’s silver creations are more than just art—they are embodiments of Zhuang cultural identity. His dedication not only preserves traditional skills but also makes a lasting contribution to the transmission and growth of Zhuang culture.

For Chinese version please go to:
http://www.ynich.cn/view-ml-13111-3136.html

Ma Shiming – Representative Inheritor of Zuoque Inkstone-making Craft Project in Yongren County, Chuxiong 

楚雄州永仁县永定镇苴却砚制作技艺项目代表性传承人 – 马世明

http://www.ynich.cn/view-ml-13111-3137.html

Guan Shengkuo – Representative Inheritor of Xuanwei Ham-making Craft Project in Xuanwei City, Qujing 

曲靖市宣威市宣威火腿项目代表性传承人 – 管升阔

http://www.ynich.cn/view-ml-13111-3138.html

Ruan Shilin – Representative Inheritor of Traditional Puerh Tea-making Craft Project in Lingxiang District, Lincang/临沧市临翔区邦东乡普洱茶传统制作技艺项目代表性传承人 – 阮仕林

Ruan Shilin has been deeply involved in the production of Bangluo Tuan tea, a traditional Puerh tea-making technique, since childhood. Under the guidance of Liu Guanglong, he learned the tea-making methods handed down through generations. Ruan is dedicated and passionate about his craft, strictly adhering to the principle of processing the tea immediately after picking. The tea tree variety he uses is a rare, ancient cultivar exclusive to the Lancang River region. The picking standard is one bud and two leaves, locally known as “one leaf embraces two leaves.”

With over 30 years of experience and innovation, Ruan has refined his traditional tea-making skills to a high level. He has mastered every stage of the process and developed a unique style, producing tea of exceptional quality at fair prices. Today, Bangluo Tuan tea is esteemed as the highest gift in Linxiang District and is treasured by Puerh tea enthusiasts and collectors.

Ruan Shilin now mentors apprentices, including Ruan Jinwei, and is a prominent tea maker in the region. Under his guidance, the village has prospered through the production, processing, and sale of tea, making significant contributions to the preservation of traditional tea-making techniques.

http://www.ynich.cn/view-ml-13111-3139.html

Yang Yongfen is a representative inheritor of the Miao batik craftsmanship project in Kaihua Town (开化镇), Wenshan County (文山县), Wenshan Prefecture (文山州). From a young age, she learned batik techniques from her mother. With a deep passion for Miao culture and a steadfast dedication to traditional crafts, she has gradually become an outstanding figure in the local batik community.

The Inheritance and Innovation of Batik Craftsmanship

Preserving Traditional Techniques

Yang Yongfen has mastered the traditional techniques of Miao batik, including the production process, pattern design, and dyeing methods. She insists on using natural wax and dyes, preserving the traditional charm of batik art.

Innovative Designs

Building upon the foundations of tradition, Yang Yongfen continuously explores innovative approaches, incorporating modern design concepts into her batik works. Her creations retain classic Miao motifs while integrating contemporary aesthetics, resulting in fresh and stylish designs.

Cultural Inheritance and Social Responsibility

Passing Down the Craft

Yang Yongfen actively participates in efforts to preserve batik craftsmanship. Through training sessions and workshops, she teaches local residents and young people the art of batik. Her work not only helps protect this intangible cultural heritage but also provides new income opportunities for the local community.

Promoting the Culture

Yang also takes part in cultural events and exhibitions, showcasing the charm of Miao batik to broader audiences and raising awareness of this traditional art form.

Distinctive Features of Her Work

Yang Yongfen’s batik works are renowned for their unique artistic style. Her patterns are intricate, and her color choices are vivid, reflecting the rich cultural heritage of the Miao people. Her creations are popular not only in China but also on international stages, introducing Miao batik to global audiences.

As a representative inheritor of Miao batik craftsmanship, Yang Yongfen not only demonstrates exceptional technical skill but also makes significant contributions to the preservation and promotion of this intangible cultural heritage.

The International Response to Yang Yongfen’s Batik Works

Yang Yongfen’s batik creations have earned widespread acclaim both in China and internationally. Her works captivate collectors and art enthusiasts around the world with their distinct artistic style and deep cultural connotations.

1. International Exhibitions and Awards

Yang Yongfen’s batik pieces have been featured in numerous international exhibitions and have received several prestigious awards. Her work “Miao Wedding” (《苗家婚事》) won a gold medal at the inaugural China Master Crafts Exhibition in 2000. Her art has also been showcased at the Musée de l’Homme in France during a batik-themed exhibition, highlighting the diversity and innovation of batik art.

2. Recognition from the International Collector Community

Her batik piece “Double Flying Apsaras” (《双飞天》), which uses colored wax-dyeing to recreate the rustic elegance of Dunhuang murals, is considered a groundbreaking contribution to Chinese art history. Upon release, the work made a sensational impact in Japan’s collector circles, with many seasoned collectors eager to acquire it.

3. Inheritance and Innovation of Culture

Building upon traditional batik techniques, Yang Yongfen has introduced bold innovations. While maintaining the traditional blue-and-white palette and ethnic aesthetics, she has incorporated modern art elements such as watercolor and oil painting, breathing new life into batik art. These innovations have attracted international attention and paved new paths for the future of batik craftsmanship.

4. Attention from the International Art Community

Yang’s works have sparked broad interest in the international art world. Her batik creations have been exhibited at global art events and praised by international art critics. They are seen not merely as traditional art forms, but as pioneering expressions of modern artistic innovation.

5. Cultural Exchange and Collaboration

Yang Yongfen actively engages in international cultural exchange, introducing Chinese batik art to global audiences through exhibitions and lectures. Her efforts not only enhance the international visibility of batik art but also foster mutual understanding and cultural exchange between different communities.

Yang Yongfen’s batik works have garnered significant recognition and praise on the international stage. Her creations showcase the charm of traditional Chinese culture while bringing fresh vitality to the art form through innovation, establishing her as a leading figure in both preserving and advancing Miao batik craftsmanship.

For Chinese version please go to:
http://www.ynich.cn/view-ml-13111-3135.html

A Heritage of Zhuang Embroidery

Lu Yufu is a representative inheritor of the Zhuang embroidery techniques in Liancheng Town (莲城镇), Guangnan County (广南县), Wenshan Prefecture (文山州). Born into a family of skilled Zhuang embroiderers, she began learning the craft from her mother at a young age. Over the years, she has accumulated extensive experience and mastered the intricate techniques of Zhuang embroidery.

Inheritance and Innovation of Zhuang Embroidery Techniques

Preserving Traditional Techniques

Lu Yufu has mastered a wide range of traditional Zhuang embroidery techniques, including flat stitch, cutwork, knot embroidery, punch needle, and patchwork. Her works are known for their diverse compositions, exquisite craftsmanship, and aesthetic appeal. Common motifs in her embroidery include flowers, butterflies, birds, beasts, and insects, reflecting a strong sense of ethnic identity.

Innovative Designs

While rooted in tradition, Lu Yufu constantly explores new ideas by incorporating modern design concepts into her embroidery. Her works retain the traditional charm of Zhuang embroidery while reflecting contemporary aesthetics through innovative and stylish designs.

Cultural Heritage and Social Responsibility

Efforts in Passing Down the Craft

Lu Yufu is actively involved in passing down Zhuang embroidery skills by organizing training sessions and workshops for local residents and youth. Her daughter, Lu Huaifang (陆怀芳), has also followed in her footsteps and become a prefecture-level representative inheritor of Zhuang embroidery.

Promoting the Culture

By participating in various cultural events and exhibitions, Lu Yufu showcases the beauty of Zhuang embroidery to a wider audience, increasing public recognition and appreciation of this traditional art form.

Unique Artistic Features of Lu Yufu’s Embroidery

Lu Yufu’s embroidery is known for its distinctive artistic style, featuring exquisite patterns and vibrant colors that reflect the profound cultural heritage of the Zhuang people. Her works are well received both in China and abroad, bringing global attention to the charm of Zhuang embroidery.

As a representative inheritor, Lu Yufu has not only achieved mastery in her craft but also made significant contributions to the preservation and promotion of this intangible cultural heritage.

Characteristics of Lu Yufu’s Embroidery Works

Lu Yufu, as a representative inheritor of Zhuang embroidery techniques from Liancheng Town (莲城镇), Guangnan County (广南县), Wenshan Prefecture (文山州), has created embroidery works with unique artistic styles and deep cultural significance. The following are the main features of her work:

1. Rich Symbolic Patterns

Her embroidery features a variety of motifs with strong ethnic characteristics and rich cultural meanings. Common motifs include peonies, marigolds, roses, orchids, magpies, butterflies, fish, pine trees, cranes, and deer. Each pattern conveys a symbolic message—for example, fish represent abundance and prosperity, peaches symbolize the hardships of parenting, rabbits signify hope for a fast and successful future for children, bitter melons represent the ability to endure hardship, and butterflies symbolize eternal love and companionship.

2. Mastery of Exquisite Techniques

Lu Yufu has mastered various embroidery techniques, such as flat stitch, patchwork, puff embroidery, and knot embroidery. Her works are meticulously crafted with dynamic and varied designs. While preserving traditional craftsmanship, she introduces modern elements to enhance the aesthetic appeal, making her works more suitable for contemporary tastes.

3. Distinct Ethnic Style

Her works embody strong ethnic style and local characteristics. From composition and color to patterns, her embroidery reflects the unique cultural identity of the Zhuang people, their lifestyle, and their aesthetic values. These works serve not only as art but also as important carriers of Zhuang cultural heritage.

4. Combining Innovation with Practical Use

Building on traditional craftsmanship, Lu Yufu has boldly innovated her designs. Her works are not only decorative but also practical. For example, her embroidered silk balls are finely crafted with a perfect balance of firmness and flexibility, making them both durable and enjoyable to handle. Her embroidery is also widely used in everyday items such as baby carriers, quilt covers, backpacks, handbags, and aprons.

5. Commitment to Cultural Transmission and Promotion

Lu Yufu is dedicated to the transmission and promotion of embroidery techniques. She has held multiple training sessions to teach local women, fostering a new generation of skilled embroiderers. Her works have gained popularity not only within China but also on the international stage, helping more people discover and appreciate the beauty of Zhuang embroidery.

Lu Yufu’s embroidery stands out for its intricate patterns, refined craftsmanship, strong ethnic style, and innovative design. Her dedication has not only preserved this form of intangible cultural heritage but also contributed to the continued development and transmission of Zhuang culture.

For Chinese version please go to:
http://www.ynich.cn/view-ml-13111-3132.html

Yunnan Travel Guide

Things To Do

• Yunnan Overview
• Yunnan Attractions
• Yunnan Tours
• Yunnan Shopping
• Yunnan Culture
• Festivals and Activities

Travel Information

• Yunnan Travel Tips
• Yunnan Climate
• Yunnan Transportation
• Yunnan Maps
• Yunnan Photos
• Yunnan Dining
• Yunnan Accommodation
• Yunnan Education
• Yunnan Travel News
• Administrative Divisions

Create My Trip

You Might Like

• 8 Days China Students Education Tour to Yuanyang Hani Rice Terraces
• 1 Day West XishuangBanna Tour to Ethnic Villages and Jingzhen Octagonal Pavilion
• 6 Days Nujiang Grand Canyon Adventure with Bingzhongluo Hiking Tour
• 3 Days Kunming Cycling Tour from Anning Hot Spring to Fuxian Lake
• 14 Days Mongolia-China-Laos Self-Driving Tour from Erenhot-Chengdu and Mohan
• 11 Days Yunnan Classic Tour: XishuangBanna-Shangrila-Lijiang-Dali-Kunming
• 12 Days Dulongjiang River Valley Hiking Tour with Nujiang Grand Canyon
• 8 Days Best Yunnan Tour from Singapore

ID

Wan Guanghong – Representative Inheritor of Black Copper Silver-decorating Skill Project in Longyang District, Baoshan

Wan Guanghong – Representative Inheritor of Black Copper Silver-decorating Skill Project in Longyang District, Baoshan 保山市隆阳区板桥镇乌铜走银制作技艺项目代表性传承人 – 万光红 http://www.ynich.cn/view-ml-13111-3145.html...

Culture    Veiw

• Baoshan
• Han Chinese
• Longyang District

Yuan Kunlin – Representative Inheritor of Black Copper Silver-decorating Skill Project in Jinning District, Kunming 

Introduction to Yuan Kunlin Yuan Kunlin (袁昆林), born in 1973, is a male member of the Han ethnic group from Tiancheng (天城) Village in Jincheng Town, Jinning District, Kunming,...

Culture    Veiw

• Han Chinese
• Inheritors of Intangible Cultural Heritage in Kunming
• Jinning District
• Kunming

Yu Ershuai – Representative Inheritor of  Dai Brocade Craft Project in Jinghong City, Xishuangbanna

Yu Ershuai (玉儿甩), born in 1958 in Manluandian Village Group (曼乱点村小组), Manmai Village (曼迈村), Gasa Town (嘎洒镇), Jinghong City (景洪市), Xishuangbanna Dai Autonomous Prefecture (西双版纳傣族自治州), represents the fifth generation...

Culture    Veiw

• Dai Ethnic Minority
• Jinghong
• XishuangBanna

Mi Me – Representative Inheritor of  Dai Brocade Craft Project in Mengla County, Xishuangbanna

Mi Me (咪么), born in 1957 in Mengxing Lower Village (勐醒下寨), Manbian Village Committee (曼边村委会), Menglun Town (勐仑镇), Mengla County (勐腊县), Xishuangbanna Dai Autonomous Prefecture (西双版纳傣族自治州), is a representative...

Culture    Veiw

• Dai Ethnic Minority
• Mengla County
• XishuangBanna

He Yuxin – Representative Inheritor of Dai and Naxi Manual Paper-making Craft Project in Shangri-la County, Diqing 

Profile of He Yuxin He Yuxin, male, Naxi ethnicity, was born in October 1954 in Baidi Village (白地村), Sanba Naxi Ethnic Township (三坝纳西族乡), Shangri-La County (香格里拉县), Diqing Tibetan Autonomous Prefecture...

Culture    Veiw

• Diqing
• Inheritors of Intangible Cultural Heritage in Diqing
• Inheritors of Intangible Cultural Heritage in Shangri-La
• Inheritors of Intangible Cultural Heritage in Yuxi
• Naxi Ethnic Minority
• Shangri-La

Su Zhaoxiang – Representative Inheritor of Bamboo Musical Instrument-making Craft Project in Yuanjiang County, Yuxi 

Background and Heritage Su Zhaoxiang (苏照祥), male, of Hani (哈尼族) ethnicity, was born in 1957 in Yangjie Township (羊街乡), Yuanjiang Hani, Yi and Dai Autonomous County (元江哈尼族彝族傣族自治县), Yuxi City...

Culture    Veiw

• Hani Ethnic Minority
• Inheritors of Intangible Cultural Heritage in Yuxi
• Yuanjiang County
• Yuxi

Meng Zigang – Representative Inheritor of Zhuang Silver Ornament-making Craft in Guangnan County, Wenshan 

Background Meng Zigang (蒙自刚), male, of the Zhuang ethnic group, was born in 1974 in Poxian Village (坡现村), Babao Town (八宝镇), Guangnan County (广南县), Wenshan Zhuang and Miao Autonomous...

Culture    Veiw

• Guangnan County
• Inheritors of Intangible Cultural Heritage in Wenshan
• Wenshan
• Zhuang Ethnic Minority

Ma Shiming – Representative Inheritor of Zuoque Inkstone-making Craft Project in Yongren County, Chuxiong 

Ma Shiming – Representative Inheritor of Zuoque Inkstone-making Craft Project in Yongren County, Chuxiong  楚雄州永仁县永定镇苴却砚制作技艺项目代表性传承人 – 马世明 http://www.ynich.cn/view-ml-13111-3137.html...

Culture    Veiw

• Chuxiong
• Hui Ethnic Minority
• Inheritors of Intangible Cultural Heritage in Chuxiong
• Yongren County

Guan Shengkuo – Representative Inheritor of Xuanwei Ham-making Craft Project in Xuanwei City, Qujing 

Guan Shengkuo – Representative Inheritor of Xuanwei Ham-making Craft Project in Xuanwei City, Qujing  曲靖市宣威市宣威火腿项目代表性传承人 – 管升阔 http://www.ynich.cn/view-ml-13111-3138.html...

Culture    Veiw

• Han Chinese
• Inheritors of Intangible Cultural Heritage in Qujing
• Qujing
• Xuanwei

Ruan Shilin – Representative Inheritor of Traditional Puer Tea-making Craft Project in Lingxiang District, Lincang 

Ruan Shilin – Representative Inheritor of Traditional Puerh Tea-making Craft Project in Lingxiang District, Lincang/临沧市临翔区邦东乡普洱茶传统制作技艺项目代表性传承人 – 阮仕林 Ruan Shilin has been deeply involved in the production of Bangluo Tuan...

Culture    Veiw

• Dai Ethnic Minority
• Inheritors of Intangible Cultural Heritage in Puer
• Lincang
• Linxiang District

Yang Yongfen – Representative Inheritor of Miao Wax-printing Craft Project in Wenshan County, Wenshan 

Yang Yongfen is a representative inheritor of the Miao batik craftsmanship project in Kaihua Town (开化镇), Wenshan County (文山县), Wenshan Prefecture (文山州). From a young age, she learned batik...

Culture    Veiw

• Inheritors of Intangible Cultural Heritage in Wenshan
• Miao Ethnic Minority
• Wenshan
• Wenshan City

Lu Yufu – Representative Inheritor of Zhuang Embroidery Skill Project in Guangnan County, Wenshan

A Heritage of Zhuang Embroidery Lu Yufu is a representative inheritor of the Zhuang embroidery techniques in Liancheng Town (莲城镇), Guangnan County (广南县), Wenshan Prefecture (文山州). Born into a...

Culture    Veiw

• Guangnan County
• Inheritors of Intangible Cultural Heritage in Wenshan
• Wenshan
• Zhuang Ethnic Minority