Pan Zhengqing – Inheritor of Yi Ethnic Song “Axi Xianji” in Mile County, Honghe

Background and Inheritance

• Early Exposure: Pān Zhèngqīng was born in Lóngduō Village, Mílè County, into a Yízú family. He was exposed to the rich musical and cultural traditions of his ethnicity from a young age.
• Mastery of Skills: He has comprehensively and systematically mastered the various techniques and routines of Yízú Āxì Xiānjī. His performances are characterized by a combination of strength and grace, showcasing the deep cultural roots and historical traditions of the Yízú people.

Heritage Activities

• Promotion and Performance: Pān Zhèngqīng has actively promoted Yízú Āxì Xiānjī through performances at local and regional events, including cultural festivals and traditional ceremonies. His efforts have helped raise awareness of this traditional art form.
• Cultural Exchange: He has participated in cultural exchange activities, collaborating with other cultural workers to enhance the recognition and influence of Yízú Āxì Xiānjī, fostering mutual learning and inspiration between different cultures.

Artistic Achievements

• Unique Style: Pān Zhèngqīng has developed a unique style in his performances, characterized by a blend of ruggedness and elegance. His contributions to the preservation and promotion of Yízú culture have earned him recognition as a national-level representative inheritor of intangible cultural heritage.
• Awards and Recognition: His performances have been widely acclaimed, and he has been honored with various awards, including recognition at national cultural events.

Heritage Methods

• Training Apprentices: Pān Zhèngqīng has trained numerous apprentices, passing on the skills and knowledge of Yízú Āxì Xiānjī to younger generations. His efforts have ensured the continuation of this cultural heritage.
• Community Engagement: He actively participates in community cultural activities, organizing performances and training sessions to promote Yízú Āxì Xiānjī within his community. His work has helped keep this traditional art form alive and thriving among the local population.

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Zhou Shaoxuan – Lusheng Player in Weixin County, Zhaotong 

昭通市威信县三桃乡芦笙艺人   -绉绍宣

http://www.ynich.cn/view-ml-13111-2763.html

Song Zirong – Inheritor of Dai Bamboo-weaving Craft in Shuangjiang County, Lincang 

临沧市双江县勐之镇傣族编织技艺传承人  -宋子荣

http://www.ynich.cn/view-ml-13111-2762.html

Yu Xinzhi (余信芝), born in 1954, is a female member of the Lisu ethnic group (傈僳族) from Tongle Village (同乐村), Yezhi Town (叶枝镇), Weixi Lisu Autonomous County (维西傈僳族自治县), Diqing Prefecture (迪庆州). Gifted and curious since childhood, she developed a deep interest in traditional Lisu weaving, embroidery, and textile crafts. Through years of dedicated learning and practice, she became an expert in traditional Lisu costume-making. As a cultural inheritor, she has trained many students, including Yu Fangzhi (余方芝), passing on the costume-making craft to the next generation. Under her guidance, many young girls in the village have also begun to learn the “Amu Sulu” (阿目数吕) weaving technique.

Cultural Activities

Yu Xinzhi actively participates in local ethnic cultural events to showcase the beauty of Lisu attire. The traditional male and female Lisu costumes she created have been collected and preserved in the Diqing Prefecture Museum (迪庆州博物馆), highlighting their cultural and artistic value.

Intangible Heritage Recognition

In 2000, she was honored with the title of “Folk Art Master” by the Yunnan Provincial Government (云南省政府), the Department of Culture (省文化厅), and the Ethnic and Religious Affairs Commission (省民委). In 2002, she was officially recognized by the Yunnan Provincial Department of Culture as a representative inheritor of the second batch of provincial-level intangible cultural heritage projects.

Craft Characteristics

Lisu costume-making techniques retain original and traditional processes while benefiting from the innovations of generations of artisans. The weaving craft has evolved from single-layer to double-layer fabric, which experts have classified as a form of brocade (“锦”). Yu Xinzhi excels in crafting “Amu Sulu” (阿目数吕), a type of decorative accessory made from wheat straw, and in designing costumes for “Achimu Gua” (阿尺木刮) performances.

Challenges Faced

Despite Yu Xinzhi’s remarkable contributions to preserving Lisu costume-making traditions, several challenges remain:

Raw Material Shortages

Due to national regulations prohibiting the cultivation of hemp, access to traditional raw materials is limited.

Difficulty in Passing Down Techniques

The dyeing process involved in traditional costume-making is complex, labor-intensive, and time-consuming. Fewer and fewer people possess the skills required for traditional dyeing techniques.

Lack of Interest Among Younger Generations

In today’s fast-paced society, younger people show little interest in wearing traditional ethnic clothing, let alone learning how to make it.

Cultural Contribution

Through teaching apprentices, participating in cultural events, and innovating her designs, Yu Xinzhi (余信芝) has successfully passed on and promoted the craft of Lisu costume-making. Her efforts have made a significant impact on the protection and development of this intangible cultural heritage.

For Chinese version please go to:
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Profile of Liao Wenhua

Liao Wenhua (Tibetan name: Zhishi Dingzhu), male, Tibetan ethnicity, was born in 1967 in Shangqiaotou Village Group (上桥头村民小组), Xingfu Village (幸福村), Nixi Township (尼西乡), Shangri-La City (香格里拉市), Diqing Tibetan Autonomous Prefecture (迪庆藏族自治州). He is a renowned inheritor of traditional Tibetan wooden bowl making and painting techniques.

Artistic Background

Trained by his grandfather in Thangka painting and wood carving since childhood, Liao later specialized in Buddhist iconography before dedicating himself to wooden bowl craftsmanship. Beginning at age nine, he mastered bowl-making to such proficiency that he could produce over 80 bowls daily, generating substantial annual income.

Wooden Bowl Craftsmanship

With origins tracing back over 1,000 years to Han artisans accompanying Princess Wencheng’s entourage, Shangri-La (香格里拉) wooden bowl making adapts Tibetan lifestyle needs using local materials. Shangqiaotou Village (上桥头村) in Nixi Township (尼西乡) is particularly celebrated for its vibrant, durable bowls featuring exquisite patterns.

The 12-step production process includes:

1. Wood seasoning
2. Rough shaping
3. Boiling
4. Precision carving
5. Lacquering
6. Hand-painting

Premium materials like paulownia, mulberry, and birch ensure:

• Exceptional hardness
• Smooth surfaces
• Distinct grain patterns
• Crack resistance

Product varieties have expanded from traditional:

• Tsampa boxes
• Chili containers
• Butter tea bowls
  To modern tourist items:
• Snuff bottles
• Bracelets
• Tea sets

A signature technique involves using natural lacquer (“raw lacquer” (土漆)) in auspicious red, yellow, and black hues – believed to invoke blessings.

Thangka Painting Skills

Beyond bowls, Liao excels in Tibetan painting, applying his skills to:

• Bowl decorations
• Religious artifacts
• Cultural handicrafts

Cultural Inheritance

As a provincial intangible cultural heritage inheritor, Liao:

• Trains apprentices in both crafts
• Develops local bowl-making industry
• Increases community incomes

With growing tourism and heritage recognition, Nixi Township (尼西乡)‘s wooden bowls have gained wider acclaim. Liao’s technical mastery and cultural dedication have significantly contributed to preserving Diqing’s (迪庆) intangible heritage.

For Chinese version please go to:
http://www.ynich.cn/view-ml-13111-2759.html

Profile of Xie Liang

Xie Liang(谢亮), male, Tibetan ethnicity, born in 1954 in Xingfu Qiaoshang Cuntou Village Group (幸福桥上村头村民小组), Nixi Township (尼西乡), Shangri-La City (香格里拉市), Diqing Tibetan Autonomous Prefecture (迪庆藏族自治州), is a renowned master of traditional wooden bowl making.

Artistic Background

Trained by his father – a celebrated local artisan – from childhood, Xie mastered the complete bowl-making process from material preparation to final lacquering. While preserving traditional methods, he has innovated with new techniques to refine the craft.

Wooden Bowl Craftsmanship

With a millennium-old heritage tracing to Han artisans in Princess Wencheng’s retinue, Nixi Township (尼西乡)‘s bowl-making adapts Tibetan needs using local materials. The complex 20+ step process includes essential stages like:

• Ash scraping
• Lacquer application

Xie’s bowls are prized for their:

• Vibrant colors
• Intricate patterns
• Elegant forms
• Exceptional durability

Innovation and Inheritance

Beyond traditional bowls, Xie creates modern pieces including:

• Bracelets
• Snuff bottles
• Butter lamp stands
• Vases

Annually supplying nearly 30,000 woodcrafts to Tibet, his work has gained international recognition through Shangri-La (香格里拉) tourism development.

Honors and Impact

Official recognitions include:

• “Folk Artisan” title (2002 by Yunnan Cultural Department)
• Provincial Intangible Cultural Heritage Inheritor (Second batch)
• Provincial ICH Representative Project status for Shangri-La wooden bowls (2013)

Xie’s craftsmanship has both boosted local economies and advanced cultural preservation.

As a master artisan, Xie has achieved technical excellence while making outstanding contributions to sustaining and developing Nixi Township (尼西乡)‘s wooden bowl tradition as a cultural hallmark of Shangri-La (香格里拉).

For Chinese version please go to:
http://www.ynich.cn/view-ml-13111-2758.html

Yu Ziliang (余自良), a male artisan of the Lisu ethnic group (傈僳族), was born in 1960 in the Baimaluoda Village Group (白马洛大村村民小组), Luona Village (倮那村), Yezhi Town (叶枝镇), Weixi County (维西县), Diqing Prefecture (迪庆州). He is a renowned local craftsman specializing in the traditional Lisu crossbow-making craft. In 2002, he was officially recognized by the Department of Culture of Yunnan Province (云南省文化厅) as a representative inheritor of the second batch of provincial-level intangible cultural heritage projects.

Learning the Craft

Born into a family of hunters, Yu Ziliang was deeply influenced by his grandfather, Chu Zaiqie (楚仔且), a legendary hunter in the Lancang River (澜沧江) basin. His grandfather’s crossbows were admired for their elegant form, fine craftsmanship, long range, and precise aim, and were highly respected by Lisu men. From a young age, Yu Ziliang learned crossbow-making from his grandfather, inheriting not only his full set of skills but also his meticulous spirit as a traditional hunter.

Promotion and Inheritance

Yu Ziliang began independently crafting crossbows in his twenties and has continued for nearly 40 years. Every crossbow he creates reflects a blend of aesthetic design and high craftsmanship. Although crossbows have shifted in use from hunting tools to sporting equipment and collectible crafts, Yu remains dedicated to traditional methods. He invests ample time and effort in each step—from material selection to fine polishing—ensuring no process is skipped and that quality is never compromised.

In addition to making crossbows himself, Yu actively teaches the craft to others. Many young Lisu people in the area seek him out to become apprentices, and he patiently passes on his knowledge and skills to the next generation.

Craftsmanship Features

Yu Ziliang follows a strict set of procedures in making crossbows, including material selection, bow crafting, frame construction, trigger mechanism (locally called “ya zi” 牙子), and bowstring making.

• Wood Selection: He primarily uses Yangsang wood (岩桑木) from the banks of the Lancang River (澜沧江), valued for its fine texture, softness, elasticity, and resistance to cracking.

• Bow Frame: Typically made from oak wood (栎木), known for its strength and durability.

• Trigger Mechanism: Crafted from ox bone or bear bone for sturdiness and precision.

• Bowstring: Made from high-quality hemp fibers, hand-twisted for strength and flexibility.

Social and Cultural Value

With improvements in living conditions, the Lisu people no longer rely on hunting for survival, and traditional hunting tools have gradually faded from daily life. However, crossbow shooting has evolved into a recreational and fitness-oriented sport and is now recognized as a national ethnic minority sporting event in China.
Athletes from the Weixi Lisu Autonomous County (维西傈僳族自治县) have won multiple awards at national and provincial ethnic sports games, contributing to the preservation and promotion of both crossbow shooting and crossbow-making traditions.

Through his mentorship, participation in cultural activities, and innovative craftsmanship, Yu Ziliang (余自良) has successfully carried forward the legacy of Lisu crossbow-making. His efforts have made a significant contribution to the preservation and development of this intangible cultural heritage.

For Chinese version please go to:
http://www.ynich.cn/view-ml-13111-2757.html

Feng Yunbo (蜂云波), a female artisan of the Lisu ethnic group (傈僳族), was born in 1979 in Tongle Village (同乐村), Yezhi Town (叶枝镇), Weixi County (维西县), Diqing Prefecture (迪庆州). Gifted with nimble hands and creativity since childhood, she mastered traditional Lisu techniques of hemp spinning, weaving, and embroidery by the age of 12. By 14, she had learned the full set of techniques required to make the male headpiece known as Amushulu (阿木数吕), part of the traditional Achamu Gua (阿尺木刮) attire.

Feng Yunbo not only inherited traditional craftsmanship but also began creating her own floral patterns, which are fresh, elegant, and quickly became popular among locals who admired and replicated her work.

Promotion and Inheritance

As a recognized representative inheritor of a provincial-level intangible cultural heritage project, Feng Yunbo actively fulfills her role as a transmitter of tradition. She has taken on many apprentices and taught the skills of Lisu costume-making to the younger generation. Thanks to her influence, a number of teenage girls in her village have begun learning the Amushulu (阿木数吕) weaving technique.

Feng also participates in various cultural events where she showcases the charm and beauty of traditional Lisu clothing.

Craftsmanship Features

Feng Yunbo excels at making Amushulu (阿木数吕), a decorative item woven from wheat straw, and traditional Achamu Gua (阿尺木刮) attire. Her works retain the essence of traditional techniques while integrating modern aesthetics, making Lisu clothing more appealing and vibrant to contemporary audiences.

Social and Cultural Value

Feng Yunbo’s efforts not only preserve the traditional clothing craftsmanship of the Lisu people but also promote the continuation and development of local culture. Her dedication has breathed new life into this intangible cultural heritage, making a significant contribution to the ongoing transmission of Lisu cultural identity.

For Chinese version please go to:
http://www.ynich.cn/view-ml-13111-2756.html

Yu Xiuzhi (余秀芝), whose Lisu name is “Lungemi” (龙格咪), is a female artisan born in November 1983 in Tongle Village (同乐村), Yezhi Town (叶枝镇), Weixi County (维西县), Diqing Tibetan Autonomous Prefecture (迪庆藏族自治州), Yunnan Province (云南省). From an early age, she showed intelligence and dexterity, excelling in the technique of wheat straw weaving. Her works are deeply loved by the villagers.

Yu Xiuzhi not only mastered this traditional craft herself but also led dozens of villagers in engaging in straw weaving, hoping to pass down the ethnic culture through craftsmanship and bring these handmade goods out of the mountains and into the world.

She learned her straw weaving skills from an elder named Wasami (哇洒咪) in her village. Impressed by her intelligence and nimbleness, the elder chose to teach her the intricate techniques. While helping her family with farm work, Yu also diligently practiced weaving. Her skills gradually refined, and her crafts became well-known in the village. Her creations are both practical and artistically valuable, and she has been featured in several media interviews.

As a representative inheritor of a provincial-level intangible cultural heritage project, Yu Xiuzhi actively fulfills her role by taking on apprentices and participating in cultural events, helping more people learn about Lisu culture. Her dedication has allowed this ancient craft to thrive and has made a vital contribution to the preservation of Lisu cultural heritage.

Features of Lisu Straw Weaving Craft

Lisu straw weaving is a unique traditional handicraft with distinct ethnic characteristics and rich cultural meaning. Below are its main features:

Material Selection

• Natural Materials: The primary materials used in Lisu straw weaving include wheat straw, dry grass, and willow twigs. These natural elements are environmentally friendly and possess a unique texture and aesthetic.
• Firegrass Fiber: In some regions, firegrass is also used. Firegrass is a wild plant that grows in the mountains, and the white fuzz on the back of its leaves can be spun into thread. When woven with hemp, it forms firegrass cloth, which is soft, white, durable, and suitable for both summer and winter wear.

Crafting Techniques

• Complex Procedures: The weaving process involves multiple intricate steps, including selecting materials, soaking, tearing, rolling, kneading, boiling, bleaching, spinning, and weaving.
• Double-Shuttle Weaving: Lisu women often use a double-shuttle technique, alternating between hemp thread and firegrass thread. This results in fabric that is both aesthetically pleasing and sturdy.
• Delicate Handwork: Each step requires high levels of craftsmanship and patience. For example, spinning the threads demands precise control of strength and technique to ensure uniform thickness.

Artistic Value

• Rich Patterns: Lisu straw weaving often features diverse patterns such as the sun, moon, stars, flowers, and plants. These motifs are not only decorative but also express the Lisu people’s reverence for and connection to nature.
• High Decorative Quality: The woven items are not only functional but also highly ornamental. One example is the Amushulu (阿目数吕), a straw-woven decorative item used to adorn traditional clothing.

Cultural Significance

• Transmission and Preservation: This craft is an integral part of daily life and a vessel of cultural transmission. It is preserved and passed down through generations.
• Social Status: In Lisu society, women who master straw weaving are held in high esteem. Their creations are valued not just as tools but as works of art.

Balance of Practicality and Beauty

• Functional Use: Straw-woven products are highly practical and can be used to make clothes, bags, fishing nets, and other everyday items.
• Aesthetic Appeal: These items are not only useful but also artistically impressive, often used for decoration and exhibition.

Inheritance and Preservation

Inheritors like Yu Xiuzhi not only excel in their craft but also actively teach and promote it through apprenticeships, cultural participation, and media outreach, introducing more people to this traditional art form. To preserve this intangible cultural heritage, local governments and cultural institutions have implemented various measures, including training programs and heritage listings.

Thanks to these efforts, Lisu straw weaving continues to flourish in the modern era, ensuring the craft’s transmission and sustainable development for future generations.

For Chinese version please go to:
http://www.ynich.cn/view-ml-13111-2755.html

Bao Lekuang – Craftsman of Bamboo Weaving and Wood Carving in Longchuan County, Dehong 

德宏州陇川县编织、雕刻技艺传承人 – 鲍勒况

http://www.ynich.cn/view-ml-13111-2754.html

Shi Mading – Inheritor of Jingpo Textile Craft in Longchuan County, Dehong 

德宏州陇川县景颇族纺织技艺传承人 – 石玛丁

http://www.ynich.cn/view-ml-13111-2753.html

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