Early Life and Craftsmanship
Wang Guiying (王桂英), born in 1931, is a skilled craftswoman from Shangkele Sub-district, Dou’nan Town, Chenggong District (昆明市呈贡县斗南镇上可乐办事处), Kunming, Yunnan. A member of the Han ethnic group (汉族), Wang was introduced to the art of rhombic straw plaiting, or the weaving of “liangjiao” flowers (萎角花), at the young age of 15. This craft is a family tradition passed down through generations, and Wang’s talent in it became quickly evident.
Mastering Rhombic Straw Plaiting
Known for her dexterity and creativity, Wang Guiying became one of the best artisans in her community when it came to making rhombic straw flowers. Her creations stand out for their smooth, well-shaped structure, and the vibrant, glossy colors of the flowers. These meticulously crafted straw flowers have gained immense popularity among local people, who appreciate both their aesthetic appeal and craftsmanship.
Wang Guiying typically produces over 3,000 pieces each year, mostly during the off-season from farming. Her work is not limited to her local area but has reached various cities and counties across Yunnan Province, as well as extending to Sichuan and Guizhou. Her rhombic straw flowers are highly sought after for their quality and beauty.
Innovation and Local Recognition
While Wang Guiying is deeply rooted in traditional techniques, she is also known for her innovative approach to the craft. For instance, she has expanded the use of the rhombic straw flower, typically used for ornamental purposes during the Dragon Boat Festival (端午节), by creating large straw lanterns. These lanterns are not only decorative but also practical, making them a popular item among locals. Her ability to combine both traditional and modern elements in her work sets her apart as one of the few masters of rhombic straw weaving in the region.
Her contributions to the craft have earned her local recognition, and her work continues to be cherished in both her hometown and beyond.
Early Life and Training
Xiao Guoxiang (肖国祥), born in 1927, is a skilled folk clay sculpture artisan from Xiayuanliang Village, Xijie Township, Anning City (昆明市安宁市县街乡下元良村), Kunming, Yunnan. He belongs to the Han ethnic group (汉族). Xiao’s journey in craftsmanship began at the age of 16 when he started learning the art of clay sculpture under the guidance of his uncle. It is said that the skill was passed down from his grandfather, who had learned it from outsiders during the late Qing Dynasty (光绪年间). Xiao is now considered the third generation in his family to carry on this tradition.
Career and Craftsmanship
Xiao Guoxiang’s professional journey spans a variety of roles. After joining the People’s Liberation Army in 1951 and serving in the 4th Division of the artillery corps, he transitioned to civilian life in 1952. Over the years, he held various leadership positions, including serving as the village’s Public Safety Director, Industrial Vice-Director, and the production team leader for 13 years. Despite his administrative duties, he never abandoned his passion for folk arts, particularly clay sculpture, bamboo weaving, and color painting.
His work primarily focuses on creating religious and ritual items used for funerary rites and other religious ceremonies. His clay sculptures include depictions of people of all ages, as well as animals and livestock. Xiao’s art is deeply connected to his local community, as he often produces these items for the villagers’ religious and spiritual needs.
Artistic Influence and Religious Practice
In addition to his skill in creating ritual items, Xiao Guoxiang has also created Buddhist statues and performed color painting for temples. His long-standing devotion to Buddhism, which began years ago, has deeply influenced his artistic focus, particularly in the creation of religious figures.
Xiao Guoxiang’s work has made a significant impact in his community, and he continues to be a respected figure for preserving this traditional art form. His sculptures remain an essential part of religious and cultural practices in Anning and the surrounding areas.
Early Life and Training
Chang Benyin (常本寅), born in 1926, is a master artisan of folk clay sculpture and color painting from Wuhua District (昆明市华山南路), Kunming, Yunnan. He is of Han ethnicity (汉族) and currently resides at 17 Buzhu Lane, South Huashan Road (昆明市华山南路布珠巷17号). His family hails from Hexi Qijie, Tonghai County (通海县河西七街), where they were known for their handicraft production. At the age of four, Chang moved to Kunming with his parents, and the family supported themselves through the production of clay sculptures, color paintings, and paper cutting, all skills that Chang would eventually inherit.
Chang grew up learning these crafts from his father, Chang Xinren (常鑫仁), who was a skilled artisan. By the age of 15, Chang Benyin had already mastered techniques in soil lacquer, color paper-cutting, color painting, and clay sculpture. His formative years were spent alongside his father, who imparted both simple and advanced skills to him.
Mastery and Career Development
After the death of his father at the age of 20, the responsibility for supporting the family fell on Chang Benyin’s shoulders. In 1947, at the age of 21, he was commissioned to restore the Maitreya Buddha and Weituo statues at Songhua Temple (松华寺) in Fumin County. His work received great praise from the temple’s head monk and the local worshippers, marking the beginning of his successful career in religious art restoration.
In the 1980s, Chang was involved in the restoration and color painting of famous scenic spots in Kunming, such as Xishan (西山), Daguan Tower (大观楼), Yuantong Temple (圆通寺), Caoxi Temple (曹溪寺), and Heilongtan (黑龙潭). His contributions to the maintenance and beautification of these important cultural sites helped cement his reputation as a respected artisan in the region.
Recognition and Legacy
Chang’s work garnered attention in the 1980s, and he was featured in reports by the Yunnan Daily and the provincial television station. He was also interviewed by CCTV, which helped further increase his visibility as a prominent artisan in Kunming.
Today, Chang Benyin has passed on his knowledge and techniques to his children and grandchildren, ensuring that the traditions of clay sculpture and color painting will continue for generations to come.
Early Life and Training
Zhang Xiuzhen (张秀珍), a Miao ethnic woman born in 1963, hails from Wolonggang Mountain Village in Tuanjie Township, Xishan District, Kunming. She was born into a family deeply immersed in the traditional arts and crafts of the Miao people, who are known for their intricate and vibrant clothing. From a young age, Zhang was exposed to the cultural significance of Miao costumes, which are central to the identity and social customs of the Miao ethnic group.
At the age of 11, Zhang began learning the traditional skills of weaving, embroidery, and wax dyeing from her mother. These techniques, passed down through generations, form the foundation of Miao ethnic clothing and are integral to their cultural heritage. Her mother’s teaching was instrumental in Zhang’s development as a skilled artisan, allowing her to preserve and advance the traditional Miao costume-making craft.
Mastery of Miao Costume-making
Miao costumes are not only practical attire but also a form of cultural expression. They are characterized by their fine craftsmanship, vibrant colors, and elaborate designs that symbolize the wearer’s ethnic identity, family history, and social status. The making of these garments involves a combination of techniques such as spinning threads, weaving fabrics, flower embroidery, wax dyeing, and sewing.
Zhang Xiuzhen is known for her exceptional skill in Miao costume-making, which includes:
- Weaving: Using traditional methods, Zhang creates intricate fabric patterns using cotton, silk, and other natural fibers.
- Embroidery: Her embroidery skills are exceptional, with the flower patterns on Miao garments symbolizing various aspects of nature, life, and spirituality.
- Wax Dyeing: One of the key techniques in Miao costume-making, wax dyeing involves applying wax patterns onto the fabric before dyeing it. This creates beautiful resistant designs that contrast with the vibrant colors of the dyes.
- Tailoring: Zhang also masters the art of cutting and sewing, creating garments such as blouses, skirts, headdresses, and aprons that are integral to Miao women’s traditional attire.
Her ability to seamlessly blend these techniques and create high-quality garments that reflect the richness and complexity of Miao culture has earned her significant recognition in the field.
Notable Achievements and Recognition
Zhang Xiuzhen’s work has been widely recognized, and she has become a key figure in preserving the traditional Miao textile arts. In 1996, her garments were featured in a folk costume exhibition held at the Yunnan Provincial Museum, which helped introduce Miao costume-making to a broader audience. The exhibition also showcased the unique artistic expression found in Miao clothing and garnered interest from foreign collectors.
Zhang’s work has been displayed in several exhibitions, and her creations have been collected by museums and ethnic collections. Her contributions to preserving and promoting Miao heritage have established her as one of the leading inheritors of this craft.
Cultural Contribution and Legacy
Zhang Xiuzhen’s influence extends beyond her personal artistry; she has been an advocate for preserving the Miao ethnic traditions, particularly in the face of modernization and the threat of cultural erosion. She has passed on her skills to younger generations, ensuring that the craftsmanship and artistry of Miao costume-making continue to thrive.
She has also shared her knowledge with other Miao women, particularly those in the Xishan District and surrounding areas, helping to ensure the survival of this cultural tradition. In this way, Zhang Xiuzhen has not only preserved the Miao costume-making skills but also played a significant role in fostering a sense of cultural pride and identity among the younger members of her community.
Zhang Xiuzhen’s work as an inheritor of Miao ethnic costume-making has made her an important figure in the preservation and promotion of Miao culture. Her dedication to the craft, her skills in weaving, embroidery, and wax dyeing, and her role in mentoring the next generation of artisans ensure that the unique art of Miao costume-making will continue to thrive for generations to come.
Through her efforts, Zhang Xiuzhen has helped to bridge the gap between traditional Miao arts and the broader cultural landscape, enabling the world to appreciate the intricate and vibrant textiles that are at the heart of the Miao people’s identity.
Read more in the original article (in Chinese)
Early Life and Training
Bi Guangming (毕光明) was born in December 1948 in Daba Mao Village, Xijiekou Town, within the Shilin Yi Autonomous County in Kunming, Yunnan. He hailed from a family deeply rooted in the traditions of the Yi ethnic group, specifically the Sani subgroup. His early exposure to Yi culture and music shaped his future path.
At the age of eight, Bi began learning the art of playing the Yi three-stringed musical instrument, also known as the Sanxian, from his father and other local folk musicians. The Sanxian is an integral part of Yi culture, especially the Sani three-stringed dance, which is known for its energetic and expressive performances.
Mastery of Yi Music and Instrument Crafting
Bi Guangming’s talent in both playing and crafting the Yi three-stringed instrument grew rapidly. He became particularly skilled in making the Sani Big Sanxian, a larger and more complex version of the instrument that is used in Sani three-stringed dance music. This musical style is known for its vibrant rhythm and expressive melodies, often reflecting the exuberant and outgoing nature of the Sani people.
The Three-Stringed Dance (撒尼大三弦)
The Sani Big Sanxian is central to the Sani three-stringed dance, a traditional dance that combines music, movement, and storytelling. Bi’s mastery in playing this instrument allowed him to perform with unmatched energy and passion, embodying the joyous spirit of the Yi people. His performances were not just musical but also an immersive expression of Yi culture, often used during celebrations, festivals, and religious ceremonies.
Craftsmanship: King of the Three-Stringed Instrument
Bi Guangming became renowned for his exceptional craftsmanship in creating the Sani Big Sanxian. His instruments were prized for their clear tone, rich resonance, and robust construction. His reputation for quality workmanship led to the popular saying that he was the “King of the Three-Stringed Instrument.” His Sanxians were in demand not only in his local community but also in other Yi-speaking regions of Yunnan.
Contribution to Cultural Preservation and Promotion
Bi Guangming was a fervent advocate for the preservation of Yi music and the Sani Big Sanxian tradition. He actively participated in various intangible cultural heritage programs and cultural exchange activities. He traveled widely, sharing his musical expertise and the rich history of the Yi people with diverse audiences.
Passing the Craft to Future Generations
Throughout his life, Bi was also committed to teaching the younger generation of Yi people. He trained many apprentices and helped ensure that the tradition of Yi three-stringed music and instrument-making would continue beyond his lifetime. He personally passed on his skills to his children, and his influence spread to numerous students in Shilin and the surrounding areas.
National Recognition
Bi’s extraordinary contributions to the preservation of Yi musical traditions earned him numerous accolades:
- 2018: Bi was designated as a national representative inheritor of the Yi three-stringed dance (Sani Big Sanxian) by the State Council of China. This recognition honored his role in preserving and promoting this key aspect of Yi intangible cultural heritage.
- 2022: Bi was evaluated as Excellent during the annual evaluation of national intangible cultural heritage representatives. This further cemented his legacy as a master craftsman and musician.
Legacy and Influence
Bi Guangming’s legacy extends far beyond his lifetime. His contributions to Yi culture—particularly the Sani Big Sanxian and three-stringed dance—have made him a legendary figure within the Yi community and the broader field of traditional Chinese music. His instruments, performances, and teachings continue to inspire new generations of musicians and craftsmen.
Bi’s work has ensured that the Sani Big Sanxian will remain a living tradition for future generations, and his passionate commitment to his craft will be remembered as a pivotal part of the Yi ethnic heritage.
Final Days and Passing
Bi Guangming passed away on January 22, 2023, during the Chinese New Year (the first day of the lunar new year). His death marked the loss of a cultural icon, but his legacy lives on in the hearts of the Yi people and the many individuals he mentored throughout his life. His contributions to the art of Yi music and instrument-making will continue to be celebrated for generations to come.
Conclusion
Bi Guangming’s life and work stand as a testament to the power of cultural preservation and artistic dedication. Through his musical mastery, craftsmanship, and commitment to teaching, he not only preserved the Sani Big Sanxian tradition but also brought it to a broader audience. He will always be remembered as the King of the Three-Stringed Instrument, and his contributions to the Yi people’s cultural heritage will endure for many years to come.
Read more in the original article (in Chinese)
Yang Zhengfang (杨正芳), born in 1927, is a renowned silver ornament-making craftsman from Zhengwei Village, Yongcui Subdistrict, Maoshan Township, Luquan County, Kunming. With more than 70 years of experience in the craft, Yang is considered a key figure in the preservation and continuation of traditional silver ornament-making in Yunnan. He has not only produced a vast array of silver jewelry but has also passed his knowledge onto several apprentices, ensuring that this ancient craft remains alive today.
Early Life and Apprenticeship
Yang Zhengfang began his journey in the world of silver ornament-making at the age of 14, when he apprenticed under Jiang Wanxing, a master craftsman from his locality. After four years of learning the trade, Yang became proficient enough to start crafting silver ornaments for the local Yi and Han communities in Luquan. His early work focused on creating traditional silver jewelry and accessories, which were integral to local customs and ceremonies, especially among the Yi people.
Career and Craftsmanship
Throughout his career, Yang worked in a variety of industries, honing his skills and applying his craft in diverse contexts:
- 1955: He joined a comprehensive factory, where he expanded his skills to produce items such as gun rods and iron shovels.
- 1957: He worked at a Maoshan smelting factory, where he participated in the creation of large iron cauldrons.
- 1959: He continued his work at various county-owned factories, including a bearing factory and an agricultural tool factory.
- 1960: Yang returned to working with silver and copper, making ornaments and tools at the hardware association.
- 1964: He spent one and a half years in Wuding County, where he continued to craft silver ornaments.
- 1974: He was invited by the Wuding Department Store to craft silver jewelry, where he worked for four years.
- 1984: After the dissolution of the Maoshan Comprehensive Factory, Yang returned to his hometown, continuing his work independently.
Legacy and Recognition
Throughout his career, Yang Zhengfang produced thousands of pieces of silver jewelry. His craftsmanship became well-known not only in Luquan but also in neighboring Wuding County, where he gained a reputation for creating high-quality silver ornaments. His work, which is characterized by traditional Yi designs and intricate silverwork, has contributed significantly to the local culture and economy.
Yang has also been a devoted mentor, teaching his craft to a new generation of artisans. Among his apprentices are his own son and several others from Luquan and Wuding counties, all of whom have continued to practice the art and pass it on to future generations.
Yang Zhengfang’s contribution to silver ornament-making is immense, not only because of his impressive output but also because of his role in preserving and passing on this ancient craft. His work has left a lasting mark on the cultural heritage of the Yi people and the broader Yunnan community. Today, Yang remains a key figure in the ongoing tradition of silver craftsmanship, with his legacy living on through his apprentices and the jewelry that continues to be cherished by locals and visitors alike.
Tang Lanying (唐兰英), born in 1942, is an esteemed Yi ethnic group embroidery master from Dahuangchuan Village, Huangchuan Subdistrict, Shuanghe Township, Jinning District, Kunming. With more than 40 years of dedication to Yi embroidery and her unique integration of painting and embroidery, Tang has become a leading figure in the preservation and development of this traditional craft in Yunnan.
Early Life and Apprenticeship
From a young age, Tang exhibited a deep affinity for art and painting. Her natural talent and keen intellect led her to teach herself to draw, initially focusing on motifs such as flowers, birds, fish, and insects. By her teenage years, Tang’s skills in drawing had significantly advanced, and at the age of 16, she began to experiment with embroidery, blending her passion for painting with her newfound skill in stitching. This fusion of painting and embroidery has since become a hallmark of her work.
Artistic Journey and Craftsmanship
For more than four decades, Tang Lanying has been tirelessly creating embroidered pieces, many of which incorporate her own paintings as templates for her stitches. She is particularly known for her intricate and beautiful Yi-style embroidery, which often includes motifs reflecting the culture, nature, and daily life of the Yi people.
Some of her most renowned creations include:
- Backpacks with embroidered children (背小孩的背被)
- Embroidered waistbands (围腰)
- Square towels (四方巾)
- Embroidered shoes (绣花鞋)
Her works are characterized by vibrant colors and fine needlework, often depicting scenes of nature, life, and Yi traditions. Through these intricate patterns, Tang has contributed to preserving the cultural symbols and traditional craftsmanship of the Yi people.
Legacy and Recognition
Over the years, Tang’s works have spread far and wide, with her embroidery pieces being sold and admired in various places such as Kunming, Yuxi, Wenshan, and even reaching Guizhou and Shandong provinces. She has completed hundreds of embroidered works, each showcasing her deep understanding of Yi cultural themes and her dedication to the craft.
As a committed teacher and mentor, Tang Lanying has passed her skills onto her three daughters-in-law and daughter, as well as several apprentices in her local area and in Chenggong District. Through her teaching, she has ensured that the traditions of Yi embroidery will continue to thrive for generations to come.
Tang Lanying’s contributions to Yi embroidery have made her a significant figure in the cultural heritage of Yunnan. Her ability to blend painting and embroidery sets her work apart and has allowed her to preserve and revitalize a key aspect of Yi culture. Through her artistry and dedication, Tang has not only enriched the lives of those around her but has also contributed to the preservation of traditional crafts that are vital to the identity of the Yi people.
Luo Dehong (罗德洪), born in 1964, is a distinguished folk artist from Yuanjia Yuan, Xiban Subdistrict, Jincheng Town, Jinning District, Kunming. As a prominent inheritor of the traditional Chinese sage paintings (圣贤画), Luo has dedicated his life to preserving and continuing the unique art form that holds deep cultural significance in central Yunnan.
Early Life and Apprenticeship
Luo Dehong’s artistic journey began at the age of 10, when he began learning the art of sage painting from his father, Luo Shaohua. Recognizing his son’s talent, his father introduced him to the techniques and traditions behind sage paintings. These works often feature various Chinese sages, gods, and Bodhisattvas, painted in vivid colors, and are used in rural homes for worship and ritual purposes, to invite good fortune, protect from evil, and ensure health and well-being.
Beyond the teachings of his father, Luo also took the initiative to expand his knowledge by purchasing drawing books and self-studying additional techniques and styles. His self-motivated learning enabled him to develop a unique approach to the traditional art of sage painting, blending classical techniques with his own interpretations.
Artistic Contributions and Style
Luo Dehong’s sage paintings are renowned for their vibrant colors and meticulous attention to detail. These works are commonly displayed in rural homes, where they serve not only as decorative pieces but also as objects of spiritual significance. The paintings are designed to invoke protection, prosperity, and happiness within the household.
In addition to his sage paintings, Luo is skilled in other traditional crafts such as mural painting, coloring beams and pillars, mud sculpture, and carving horse boards (甲马板). His ability to work across multiple mediums demonstrates his versatile craftsmanship and deep knowledge of folk art traditions.
Cultural Impact and Recognition
Luo Dehong has become one of the most influential figures in the tradition of sage painting in Jinning District. His works have been widely distributed across Yuxi, Chenggong, Weijang, Anning, Haikou, Xishan, and his own home county. Through his consistent and dedicated efforts, he has earned a reputation as the leading figure in sage painting in the region. His work has not only preserved this ancient tradition but also revitalized it, keeping it relevant in the modern cultural landscape.
Luo’s paintings, which portray figures of deities and sages, are known for their vivid color schemes and respectful portrayal of the divine. His distinctive style emphasizes the importance of both artistic integrity and spiritual devotion.
Legacy and Teaching
As a highly respected master in the field, Luo Dehong is dedicated to passing down his knowledge. He is regarded as a representative teacher and mentor in his community, taking on apprentices and offering guidance to younger generations. His efforts to teach and mentor others ensure the continuity of this traditional folk art.
Conclusion
Luo Dehong’s work as an inheritor of sage painting plays a crucial role in preserving an important aspect of Yunnan’s cultural heritage. Through his artistry, he continues to honor ancient traditions while bringing them into the modern era, ensuring that this spiritual and cultural practice endures for future generations.
Pu Jiasen (普加森), born in 1937, is a respected artisan from Dake Village, Xiyang Township, Jinning District, Kunming. As a member of the Yi ethnic group, Pu Jiasen has made significant contributions to the preservation of Yi wood-carving and the tiger-head mask handicraft, both of which are important aspects of Yi cultural heritage.
Early Life and Apprenticeship
Pu Jiasen’s artistic journey began at the young age of 14, when he started learning the craft of woodworking. Initially, he focused on practical carpentry, making everyday items such as tables, chairs, and household columns. However, over the years, his skills expanded, and he became proficient in various other crafts, including ironworking, stone carving, painting, and even textile work. His versatility earned him a reputation as a multitalented craftsman.
As he approached his 30s, Pu Jiasen developed a keen interest in more specialized crafts, particularly Yi wood-carving and the creation of tiger-head masks. His deep engagement with these traditional arts has made him a key figure in the preservation and continuation of these handicrafts in his community.
Yi Wood-carving and Craftsmanship
Pu Jiasen’s Yi wood-carving works are known for their intricate designs and fine craftsmanship. Some of his most notable pieces include dragon heads, sanxian (three-stringed instrument) carvings, moon guitars, and door decorations. He has created more than 50 door decorations, many of which have been sold in various places, including Chenggong, Guandu, Jinning, Yuxi, Eshan, and Yimen. These works are highly valued for their combination of functional and aesthetic qualities, often incorporating cultural symbols and motifs significant to the Yi people.
Tiger-head Masks
One of Pu Jiasen’s most well-known crafts is the creation of tiger-head masks, which have a unique cultural significance in the Yi tradition. These masks, known as “Cat Masks” (猫猫面具), are inspired by a tiger-head mask originally created by Yi Jinbao from his village in the 1940s. The masks were historically used in hunting rituals and sacrificial ceremonies to ward off wild beasts and ensure successful hunts. Over time, the masks evolved from their original ceremonial purpose into a form of folk entertainment.
Pu Jiasen’s tiger-head masks continue this tradition, embodying both the spiritual significance of the original masks and the artistic creativity of modern craftsmanship. His masks are well-regarded for their vibrant, expressive designs, which have made them popular not only among local Yi communities but also in the broader cultural market.
Teaching and Legacy
Today, Pu Jiasen is dedicated to passing on his craft to the next generation. He has taken on apprentices, ensuring that the traditional skills and knowledge of Yi wood-carving and tiger-head mask making are preserved for future generations. Through his efforts, he continues to contribute to the cultural heritage of the Yi people and plays an essential role in keeping these traditional crafts alive.
Cultural Importance and Recognition
Pu Jiasen’s work has earned him recognition as a significant intangible cultural heritage figure in Jinning District, where his craftsmanship is not only appreciated for its artistic value but also for its contribution to the local cultural identity. His commitment to preserving and innovating Yi artistic traditions makes him a central figure in the region’s cultural landscape.
Conclusion
Pu Jiasen’s journey from a young apprentice in carpentry to a respected master of Yi wood-carving and tiger-head mask making is a testament to his dedication to his craft and his culture. His contributions to the preservation of Yi folk art ensure that these traditional practices continue to thrive, adapting to modern times while maintaining their deep cultural roots.
Mao Kunliang (毛昆良), born in 1964 in Luoyang Township, Chenggong District, Kunming, is a notable figure in the preservation and development of Chinese sage paintings (圣贤画). Mao comes from a family with a long-standing tradition of creating sage paintings. His family’s lineage in this art form spans generations, with his ancestors having studied under Zhang Fagui, a renowned folk artist from Kunming. By the time Mao Kunliang became involved in the art, he was the fourth generation in his family to carry forward the tradition.
Early Life and Artistic Heritage
Mao Kunliang began his artistic journey at the age of 16 when he started studying under his grandfather, Mao Ziming, who was a skilled practitioner of sage paintings. Mao Ziming passed down not only technical skills but also the deep understanding of the cultural significance of these paintings. Over the next two decades, Mao Kunliang refined his techniques and immersed himself in the artistic traditions passed down through his family.
The theme of the sage paintings Mao creates is rooted in the portrayal of ancient Chinese sages, philosophers, and historical figures, often depicted in a serene, dignified manner. His works feature elegant depictions of sages, emphasizing wisdom, moral teachings, and cultural heritage.
Artistic Style and Innovation
Mao Kunliang’s sage paintings are characterized by a unique blend of traditional techniques and modern color application. While he remains faithful to the ancient methods of representing figures with simple, dignified poses, he has introduced color into his works in an innovative way. Mao is credited as the first artist in Chenggong to apply color to the depiction of sage figures, enhancing the traditional style with rich and vibrant hues.
He uses golden accents to outline and highlight the figures, which makes his paintings appear radiant and majestic, yet still maintain a sense of solemnity and grandeur. The application of gold and vivid colors contrasts with the more somber and monochrome sage paintings traditionally seen in Chinese art, making his works not only visually striking but also emotionally evocative.
Legacy and Influence
Mao Kunliang’s dedication to his craft and his contributions to the preservation of this specialized form of folk art have earned him recognition as an inheritor of intangible cultural heritage in Chenggong District. His works have gained local acclaim for their intricate detailing and emotional depth. Through his paintings, Mao Kunliang not only honors the wisdom and teachings of Chinese sages but also plays a key role in keeping this unique art form alive and relevant in modern times.
Cultural Impact and Preservation
As a fourth-generation artist, Mao Kunliang is dedicated to passing on his knowledge and techniques to future generations. He is actively involved in teaching young artists and enthusiasts about the rich history and artistic traditions behind the sage painting style. By doing so, he helps to ensure that this important aspect of Chinese folk art continues to thrive in the modern era.
Mao’s contributions to the preservation of traditional Chinese cultural heritage, particularly in the context of folk painting, are not only an artistic achievement but also a cultural service, ensuring that the values and wisdom of the past remain accessible to future generations.
Bi Ya – Dai Folk Artist in Gengma County, Lincang
耿马县孟定镇傣族民间艺人 – 毕亚
http://www.ynich.cn/view-ml-13111-2586.html
Inheritor of Deang Folk Art in Zhenkang County, Lincang
镇康县军弄乡德昂族民间艺术传承人 – 姚正勇
http://www.ynich.cn/view-ml-13111-2585.html
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Yang Zhengfang (杨正芳), born in 1927, is a renowned silver ornament-making craftsman from Zhengwei Village, Yongcui Subdistrict, Maoshan Township, Luquan County, Kunming. With more than 70 years of experience...
Tang Lanying – Inheritor of Yi Embroidery Skill in Jinning District, Kunming
Tang Lanying (唐兰英), born in 1942, is an esteemed Yi ethnic group embroidery master from Dahuangchuan Village, Huangchuan Subdistrict, Shuanghe Township, Jinning District, Kunming. With more than 40 years...
Luo Dehong – Inheritor of Folk Paintings Themed on Chinese Sages in Jinning District, Kunming
Luo Dehong (罗德洪), born in 1964, is a distinguished folk artist from Yuanjia Yuan, Xiban Subdistrict, Jincheng Town, Jinning District, Kunming. As a prominent inheritor of the traditional Chinese...
Pu Jiasen – Inheritor of Yi Wood-carving and Tiger-head Mask Handicraft in Jinning District, Kunming
Pu Jiasen (普加森), born in 1937, is a respected artisan from Dake Village, Xiyang Township, Jinning District, Kunming. As a member of the Yi ethnic group, Pu Jiasen has...
Mao Kunliang – Inheritor of Folk Paintings Themed on Chinese Sages in Chenggong District, Kunming
Mao Kunliang (毛昆良), born in 1964 in Luoyang Township, Chenggong District, Kunming, is a notable figure in the preservation and development of Chinese sage paintings (圣贤画). Mao comes from...
Bi Ya – Dai Folk Artist in Gengma County, Lincang
Bi Ya – Dai Folk Artist in Gengma County, Lincang 耿马县孟定镇傣族民间艺人 – 毕亚 http://www.ynich.cn/view-ml-13111-2586.html...
Inheritor of Deang Folk Art in Zhenkang County, Lincang
Inheritor of Deang Folk Art in Zhenkang County, Lincang 镇康县军弄乡德昂族民间艺术传承人 – 姚正勇 http://www.ynich.cn/view-ml-13111-2585.html...
Tips Before Travel
Bring copies of your passport
Don't assume you're restricted to the main hubs of Beijing and Shanghai, our tours can start from any city.
Register with your embassy
For your safety, please register with the Embassy.
Always have local cash
Exchange some local currency for your trip
Our Team
Fenggu Yingshan Tea House and Tea Culture Learning Lijiang
Charlie Lee-General Manager of Yaso Travel and Xilinshan Tea Company
Leon Liu-Network Engineer of Trans Asia Discovery
Vincent Zhao-French Market and the Founder of VoyagesYunnan.com
Gary Elliot-Shareholder of Trans Asia Discovery
Michael Huang-Excellent French and English-speaking Tour Guide in Yunnan
Stephane-Volunteer of Yaso Travel
David Yao-Lijiang Tour Operator of Yunnan Exploration
Cindy Cao-Yunnan Tour Operator
Xilinshan Tea House (Kunming, Yunnan)
Rachel Nan-China Tour Operator
Lydia Li-The Founder of Yunnan Exploration
Anna Chen-Yunnan Tour Operator
Kelly Yu-Yunnan Travel Consultant
Cloudy Fu-Website Editor of Yunnan Exploration
Cuiyuan Yang
Skye Zhang-website editor of Yunnan Exploration
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