Yang Zhongping – Dingqin Maker and Player in Lianghe County, Dehong
德宏州梁河县河西乡丁琴乐器制作和演奏艺人 – 杨忠平
http://www.ynich.cn/view-ml-13111-3326.html
Gen Dequan – Hulusi Maker in Lianghe County, Dehong
德宏州梁河县勐养镇葫芦丝制作艺人 – 哏德全
http://www.ynich.cn/view-ml-13111-3327.html
He Zhigao (和志高), male, of the Lisu ethnic group (傈僳族), was born in 1956 in Zhali Natural Village (咱利自然村), Meile Village (美乐村), Pantiange Township (攀天阁乡), Weixi County (维西县), Diqing Tibetan Autonomous Prefecture (迪庆藏族自治州). He is a renowned traditional Lisu crossbow maker. In June 2007, he was recognized by the Yunnan Provincial Department of Culture as a representative inheritor of the third batch of provincial-level intangible cultural heritage items.
Artistic Journey
He Zhigao was born into a family deeply rooted in crossbow-making traditions. His grandfather Yang Ping (杨平) and father He Yugui (和玉贵) were both well-known crossbow craftsmen in the area. Immersed in this environment, he developed a deep interest in the craft from a young age. By the age of 11, he was capable of making crossbows on his own. Through years of practice, he continuously improved his skills and gradually became one of the most respected crossbow artisans in the region.
Promotion and Transmission
He Zhigao has not only inherited his family’s traditional craft but has also actively participated in the protection and transmission of intangible cultural heritage. He has frequently entered local schools to give live demonstrations and lectures, teaching students about the Lisu crossbow-making process and shooting techniques, thereby promoting the preservation of this cultural practice. Additionally, he has established a Lisu Crossbow Handmade Workshop dedicated to the production and development of cultural and creative products based on traditional crossbows.
Craftsmanship Features
He Zhigao’s crossbows are crafted following strict traditional procedures, including material selection, bow shaping, bow frame assembly, trigger mechanism creation, and bowstring production. He primarily uses yansang wood (岩桑木) harvested from along the banks of the Lancang River (澜沧江). This wood is known for its fine texture, softness, elasticity, and resistance to cracking. Creating a high-quality crossbow requires preparing materials a year in advance, followed by a series of steps such as shaping, smoke-drying, polishing, and oiling. The entire crafting process takes about 3 to 4 days to complete.
Social and Economic Value
He Zhigao’s crossbows are used not only in traditional shooting competitions but also crafted as collectible and display-worthy handicrafts. His works are highly regarded by crossbow enthusiasts both in China and abroad due to their exceptional craftsmanship and cultural significance. Furthermore, the inheritance and development of crossbow-making techniques have positively contributed to the local economy, becoming an important part of cultural tourism in the area.
Through mentoring apprentices, participating in cultural activities, and innovating designs, He Zhigao has successfully preserved and promoted the traditional Lisu crossbow-making craft, making significant contributions to the protection and development of this valuable intangible cultural heritage.
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Overview of Colorful Paper Art (彩扎)
Colorful Paper Art (彩扎), also known as Paper Sculpture (纸扎) or Silk Sculpture (绸扎), is a traditional Chinese folk craft that creates lifelike art through comprehensive handcraft techniques. In 2008, it was included in China’s second batch of National Intangible Cultural Heritage.
Originating in the Tang and Song dynasties, artisans use bamboo strips as a framework, combining skillful craftsmanship and creative designs to produce sculptures of animals, famous mountains, ancient temples, and characters from operas. After the Ming and Qing dynasties, the craft flourished across China. Modern Colorful Paper Art (彩扎) has expanded its materials from paper to include clay, wax, enamel, silk, and fabric, enhancing its expressive power.
The craft is divided into two types:
- “Standing Work” (站活): Large-scale pieces like “Ao Mountain” (鳌山), “Spirit House” (灵厝), and “Colorful Tower” (彩楼).
- “Sitting Work” (坐活): Delicate works such as famous figures, birds, and beasts.
Artists can create custom pieces based on customer requests, making the craft highly adaptable in both content and scale.
Inheritor He Zhengwen
He Zhengwen (和正文), born in 1952 in Gran Village (格兰村), Shangjiang Township (上江乡), Shangri-La City (香格里拉市), Diqing Tibetan Autonomous Prefecture (迪庆藏族自治州), is an outstanding inheritor of Lisu ethnic Colorful Paper Art (彩扎).
In 1983, he apprenticed under Peng Jinhuai (彭金怀), a local master, to learn the craft of making animal props for the Lisu Rib Dance (肋巴舞), including golden pheasants, white cranes, phoenixes, ponies, and deer. By 1986, when Peng passed away, He Zhengwen had mastered the full production process.
His works are highly realistic and meticulously crafted, earning recognition from the Diqing Tibetan Autonomous Prefecture Museum (迪庆藏族自治州博物馆). Besides crafting props, he is also skilled in performing the Rib Dance (肋巴舞) and has innovated by integrating Golden Pheasant Dance (金鸡舞) and Deer Dance (马鹿舞) into the traditional routine. Under his leadership, the dance troupe has won multiple awards in prefectural and county performances.
Committed to preserving the craft, He Zhengwen has trained a new generation of inheritors, including Jin Weiquan (金卫权), a 27-year-old Lisu (傈僳族) youth. Through his efforts, Colorful Paper Art (彩扎) continues to thrive in Shangjiang Township (上江乡) and has become a vital part of Diqing’s (迪庆) intangible cultural heritage.
Cultural Background
Located in southwestern Shangri-La (香格里拉), Shangjiang Township (上江乡) features diverse terrain and climate, along with rich ethnic culture. Colorful Paper Art (彩扎) is deeply tied to local rituals, festivals, and folk activities, evolving into a significant cultural symbol through continuous innovation.
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Zhuoma (卓玛), female, of the Tibetan ethnic group (藏族), was born in 1962 in Ximu Gong Villager Group (习木贡村民小组), Benzilan Village (奔子栏村), Benzilan Town (奔子栏镇), Deqin County (德钦县), Diqing Tibetan Autonomous Prefecture (迪庆藏族自治州). From a young age, she learned the craft of handmade Tibetan clothing from her father, a renowned local Tibetan clothing artisan. In June 2007, she was recognized by the Yunnan Provincial Department of Culture as a representative inheritor of the third batch of provincial-level intangible cultural heritage items.
Artistic Journey
As the eldest of five sisters, Zhuoma carried the expectations of her family. At the age of 15, she began learning Tibetan clothing craftsmanship under her father’s guidance. After more than a decade of dedicated study, she successfully completed her first set of Tibetan attire. Through hands-on practice, she gradually refined her techniques and pursued excellence in her craft.
Promotion and Transmission
Mentorship
Zhuoma has always taken her role as a cultural inheritor seriously, staying committed to passing on her knowledge and training apprentices. She has organized training classes, with over 20 individuals learning traditional clothing-making skills under her instruction.
Cultural Activities
Clothing made by Zhuoma has been showcased at national and provincial fashion exhibitions in cities such as Beijing (北京) and Shanghai (上海), and has been sold to surrounding regions. She actively participates in various cultural events to highlight the charm of Tibetan attire.
Intangible Heritage Protection
In 2014, Zhuoma founded the Benzilan Qiazengka Ethnic Traditional Clothing Co., Ltd. (奔子栏恰增卡民族传统服饰有限公司), dedicated to preserving and passing down the 1,300-year-old clothing culture of Benzilan (奔子栏).
Craftsmanship Features
Tibetan clothing from Benzilan is known for its vibrant colors, harmonious combinations, and a style that is resplendent, elegant, and majestic. The garments Zhuoma creates play an essential role in the daily lives of local Tibetans—everyone owns at least one set, which is worn during weddings, funerals, festivals, and while dancing the Guozhuang (锅庄) dance.
Social and Economic Value
Zhuoma’s Tibetan clothing factory offers a wide range of products with exquisite craftsmanship, highly favored by the local community. Her company has become the go-to destination for traditional ethnic clothing and has also attracted tourists seeking cultural experiences. By introducing advanced equipment and technology, her company has achieved scaled production to meet growing market demand.
Through mentoring, participating in cultural events, and innovative design, Zhuoma has successfully preserved and promoted the traditional craftsmanship of Tibetan clothing, making significant contributions to the protection and development of this valuable intangible cultural heritage.
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Lurong Geden (鲁茸格登), male, of the Tibetan ethnic group (藏族), was born in February 1970 in Cheju Villager Group (车居村民小组), Shusong Village (书松村), Benzilan Town (奔子栏镇), Deqin County (德钦县), Diqing Tibetan Autonomous Prefecture (迪庆藏族自治州). He is a recognized representative inheritor of a provincial-level intangible cultural heritage item. Lurong Geden became a monk at a young age and, at 18, became a disciple of the living Buddha Gada·Chiliequwang (噶达·赤列曲旺) of Dongzhulin Monastery (东竹林寺), studying Buddhist cultural knowledge. Through years of learning and practice, he has mastered a wide range of Tibetan traditional crafts including mural painting, thangka (唐卡) art, decorative painting, mask-making, and the sewing and processing of monastery items and deity clothing.
Promotion and Transmission
Cultural Preservation
Lurong Geden’s artwork is known for its lifelike detail and sophisticated composition, earning admiration from both local monks and the wider community. He has painted over 50 murals for monasteries in Diqing Prefecture (迪庆州) and places like Yunnan Ethnic Village (云南民族村), and created more than 100 thangkas for both religious and folk purposes.
Mask-Making
He is also highly skilled in creating Tibetan Cham dance masks (羌姆面具), with the ability to craft over 80 types. He expertly handles each step of the process—from clay modeling to mold making, painting, and decoration. More than 100 of his mask works are preserved and exhibited by institutions such as the Yunnan Nationalities Museum (云南民族博物馆) and the Diqing Tibetan Autonomous Prefecture Museum (迪庆藏族自治州博物馆).
Mentorship
As a dedicated inheritor of intangible cultural heritage, Lurong Geden has trained over 40 apprentices. Among them is Cili Peichu (此里培初), who has become capable of independently creating paintings.
Craftsmanship Features
Traditional Tibetan painting is mainly categorized into murals and thangkas. Murals are typically found in monasteries and homes and include depictions of Buddhist figures, historical stories, and folk scenes. Thangkas are a distinctive form of Tibetan painting that often feature similar content, with religious imagery—especially Buddha figures—being the most prevalent. Lurong Geden’s works not only demonstrate superb technique but also incorporate elements of modern aesthetics, breathing new life into traditional Tibetan art.
Through teaching apprentices, participating in cultural events, and integrating innovative designs, Lurong Geden has successfully preserved and revitalized the traditional Tibetan arts of painting and mask-making, making a significant contribution to the protection and development of this invaluable intangible cultural heritage.
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Yuxiang La (玉香拉) is a prominent inheritor of the traditional Dai silver and gold jewelry making skills in Menglong Town (勐龙镇), Jinghong City (景洪市), Xishuangbanna (西双版纳). With a deep passion for her cultural heritage, she has dedicated her life to preserving and promoting this unique craft.
I. Craftsmanship and Heritage
The Dai silver and gold jewelry making skills are characterized by their intricate designs and meticulous craftsmanship. Yuxiang La’s work reflects the traditional techniques passed down through generations, which include filigree work, granulation, and intricate carving. Her jewelry pieces often feature motifs such as peacocks, butterflies, and flowers, which are symbolic in Dai culture.
II. Commitment to Tradition
Yuxiang La learned the craft from her family and has become a master of the traditional techniques. Despite the challenges posed by modern industrial production, she remains committed to preserving the authenticity of the craft. Her work not only showcases the beauty of traditional Dai jewelry but also serves as a cultural bridge, connecting the past with the present.
III. Cultural Significance
Dai jewelry is more than just adornment; it is a symbol of cultural identity and a reflection of the Dai people’s values and aesthetics. Yuxiang La’s dedication to her craft helps keep these traditions alive, ensuring that the unique cultural heritage of the Dai people continues to thrive.
IV. Future Prospects
Yuxiang La is actively involved in teaching the next generation, passing on her knowledge and skills to ensure the continuity of this ancient craft. Her efforts are crucial in safeguarding the future of Dai silver and gold jewelry making, allowing it to remain a vibrant part of Dai culture for generations to come.
Yuxiang La’s work is a testament to the enduring spirit of cultural preservation and the importance of traditional craftsmanship in the modern world. Through her dedication, the art of Dai silver and gold jewelry making continues to shine brightly in the cultural landscape of Xishuangbanna.
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Yu La(玉腊), born in 1959, is a Dai embroidery artisan from Manmowo Village (曼么卧村), Mengyang Town (勐养镇), Jinghong City (景洪市), Xishuangbanna Dai Autonomous Prefecture (西双版纳傣族自治州). She began learning embroidery from her mother, Yu Ye (玉叶), at the age of 10 and became skilled enough to independently craft traditional Dai (傣雅) attire by 13. With over 30 years of experience, Yu La has mastered the intricate techniques of Dai (傣雅) embroidery, producing works renowned for their precision, standardized patterns, tight stitching, and exquisite craftsmanship. Her creations are highly cherished by the local community.
As a cultural representative of her ethnic group, Yu La has both inherited and passed down her craft, earning widespread recognition. She has been featured in interviews by China Central Television (CCTV).
Characteristics of Yu La’s Embroidery
Exquisite Handicraft
Yu La’s embroidery is distinguished by its meticulous craftsmanship. Each stitch is uniform, and the lines flow naturally, showcasing her exceptional skill. The patterns are clear and refined, free from any imperfections, reflecting her dedication to perfection.
Standardized Patterns
Her embroidery adheres to traditional Dai (傣雅) designs, featuring well-composed layouts and harmonious arrangements. Common motifs include elephants, peacocks, flowers, trees, Buddhist temples (缅寺), human figures, and geometric patterns. These designs are not only visually striking but also embody the Dai people’s reverence for nature and their aspirations for a prosperous life.
Symbolic Meanings of Dai Embroidery
Nature Worship and Harmonious Coexistence
Depictions of Natural Elements
Dai embroidery frequently incorporates motifs from nature, such as elephants, peacocks, flowers, and trees. These patterns reflect the Dai people’s deep respect for the natural world and their philosophy of living in harmony with it. For instance, the peacock symbolizes beauty and nobility, while the elephant represents strength and wisdom.
Fusion of Colors and Nature
The vibrant color palette of Dai embroidery often pairs hues of equal intensity, such as red with black or white with green. This bold yet harmonious use of color demonstrates the Dai people’s keen observation of nature and their unique aesthetic sensibility.
Aspirations for a Prosperous Life
Love and Marriage
From the age of 13 or 14, Dai girls begin learning embroidery to create elaborate bridal attire by the time they marry at 18 or 19. These garments, often adorned with symbols like “Two Phoenixes Competing for Treasure”, signify blessings of wealth and good fortune.
Harvest and Abundance
Patterns such as Fruits of the Four Seasons symbolize bountiful harvests and flourishing descendants, expressing the Dai people’s hopes for prosperity and continuity.
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Yu Meng（玉勐）, born in 1957, is a Dai pottery artisan from Mandou Village (曼斗村), Jinhong Subdistrict Office (景洪市街道办事处), Xishuangbanna Dai Autonomous Prefecture (西双版纳傣族自治州). As a national inheritor of China’s intangible cultural heritage for Dai slow-wheel pottery, she began learning the craft in childhood and started independent production in 1985. Her works include traditional Dai household items and Buddhist ceremonial objects, such as earthen pots, clay kettles, and water jars. These pieces, deeply rooted in ethnic traditions, are highly sought after by local communities.
Trained by her mother, Yu Xiangshuai (玉香甩), and mentored by veteran Dai potters Yan Pa (岩帕) and Bo Tao Xiangzhang (波涛香章), Yu Meng employs the ancient coiling technique with slow-wheel firing. Her process—from pounding and sifting clay to shaping, drying, and firing—relies entirely on manual skill and experience. Recognized internationally, she was invited to Japan’s World Ceramic Exposition, where her work earned widespread acclaim.
Beyond her craftsmanship, Yu Meng is dedicated to preserving this heritage. Since 1994, she has trained numerous apprentices and hosted free workshops for youth and enthusiasts. Her pieces are collected by the Chinese National Academy of Arts, and she holds honors like “Dai Artisan (傣乡工匠).” Her efforts have sustained Dai pottery’s legacy and fostered cultural exchange, notably between China and Japan.
International Acclaim for Yu Meng’s Pottery
High Praise in Japan
From July to September 1996, Yu Meng, alongside her daughter Yu Danhan (玉单罕) and apprentice Yu Layue (玉腊约), demonstrated slow-wheel pottery at the World Ceramic Exposition in Saga, Japan. Experts marveled at the traditional methods, intricate patterns, and rustic forms, particularly her “mantou kiln (馒头窑)” firing technique. This revelation helped Japanese scholars decode mysteries of their Yayoi period, earning accolades from archaeologists, historians, and artists. During the event, her team fired over 600 pieces across 20 kilns, elevating China’s ceramic reputation and strengthening Sino-Japanese cultural ties.
Hailed as “Ancient Yunnan’s Brilliance”
At the 1996 exposition, Yu Meng’s faithful revival of archaic techniques led experts to laud her work as “the pinnacle of ancient Yunnan’s ingenuity.”
A Key to Neolithic Pottery Mysteries
Since the late 1950s, global archaeologists have studied Dai pottery, identifying it as a living relic of China’s primitive ceramics. Regarded as “the key to unlocking Neolithic firing techniques,” it offers unparalleled insights into early pottery-making.
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Maha Zhuang (玛哈庄) is a renowned Dai carving artist from Xiaojie Township (小街乡), Jinghong City (景洪市), Xishuangbanna Dai Autonomous Prefecture (西双版纳傣族自治州). His exquisite carvings enjoy great prestige locally and have significantly influenced the entire Xishuangbanna region.
Guardians of Wood and Stone
Dai carving (傣族雕刻), an ancient art form originating from Xishuangbanna (西双版纳) and Dehong (德宏) regions, represents one of Yunnan’s most exquisite intangible cultural heritages. For centuries, Dai artisans have transformed temples, homes, and everyday objects into canvases of spiritual expression through their knives and chisels.
The Sacred and the Mundane
Dai carving primarily manifests in two forms:
- Temple carvings : Elaborate depictions of Buddhist motifs adorning wat walls, pillars, and eaves
- Household carvings : Functional art on furniture, utensils, and architectural elements
Characteristics of Dai Carving
Flowing Lines, Divine Forms
Dai carving distinguishes itself through:
- Curvilinear patterns mimicking tropical flora and fauna
- Religious symbolism featuring peacocks, elephants, and naga motifs
- Negative space mastery creating lace-like wooden screens
The Carver’s Sacred Journey
Traditional training involves:
- 7-year apprenticeships under master carvers
- Meditation before handling tools
- Ritual offerings to tree spirits when sourcing materials
Cultural Significance
Buddhism in Three Dimensions
Dai carving serves as:
- Visual scripture for illiterate devotees
- Architectural poetry transforming temples into “Buddhist storybooks”
- Community identity markers distinguishing Dai subgroups
Endangered Elegance
While once flourishing with over 200 master carvers in the 1950s, current surveys show:
- Only 17 recognized inheritors remain
- Machine-carved replicas dominate tourist markets
- UNESCO has listed Dai woodcarving as “urgently needing safeguarding”
Preservation Efforts
New Life for Ancient Knives
Recent initiatives include:
- Government-funded workshops in Jinghong (景洪) and Ruili (瑞丽)
- Digital documentation of 10,000+ traditional patterns
- “Carving in Schools” programs across 23 Dai villages
This sacred craft, balancing spiritual devotion with artistic innovation, continues its delicate dance between tradition and modernity.
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Ye Juan – Inheritor of Dai Brocade Textile Craft in Mengyang Town, Jinghong
西双版纳景洪市勐养镇傣族织锦技艺传承人 – 叶娟
http://www.ynich.cn/view-ml-13111-3319.html
Why is Dayangchang Pasture Scenic Area So Special?
In the golden triangle where the Nu river, Dali and Lijiang meet, there is a magical land – Luoguqing, located in the Lanping Bai and Pumi autonomous county. There are many ethnic minorities such as Pumi, Bai, Lisu, Yi and Naxi who live in peace and harmony with each other. Dayangchang Pasture Scenic Area, a mountain pasture as one part of Luoguqing, has undulating alpine meadows, well-preserved primitive vegetation, enchanting purple azalea, murmuring streams, and amazing Danxia landform.
Where is Dayangchang Pasture Scenic Area – Location
Dayangchang is located in Hexi township(河西乡) of Lanping Bai and Pumi autonomous county, Nujiang Prefecture, Yunnan province, which borders Liming scenic area of Lijiang.
Features of Dayangchang Pasture Scenic Area
Every May or June, Dayangchang becomes a purple dream place. The purple rhododendrons burst into bloom in vast clusters, along with flowers of red, pink, white, and yellow. In the sea of flowers, some animals leisurely feed themselves, including cattle, sheep, pig and yak. From south to north, Dayang river turns back to the green pastures, like a silver dragon living here. Daliangzi mountain is a wonderful view point of Dayangchang. As far as the eye is concerned, you can see five mountains of different styles, including Meili Snow Mountain, Jade Dragon Snow Mountain, Haba Snow Mountain, Biluo Snow Mountain and Laojun mountain.
Best Time to Go
The scenery of Dayangchang is very beautiful, especially in spring and summer, when all kinds of azaleas bloom from spring to summer. The mountain azalea and tree azalea on the hillside bloom first and then the purple and pink azalea in the middle of plain. May is the best month with a sea flower of azaleas.
How to Get there
From Liming of Lijiang, the road is in poor condition and could not be kept open regularly. It needs about five hours’s driving. From Lanping county to Dayangchang, it’s about 56 kilometers and more than 1 hour’s driving is needed from Lanping county seat to Luoguqing. The road from Luoguqing to Dayangchang is also in bad condition. There are mountain roads from Luoguqing to Dayangchang, and the villagers of Luoguqing village can lead the way. The hiking trail is about three hours, almost the same with driving. Rent a car with a tour guide in the best choice for tourists. Yunnan Exploration Travel can provide the car-rental service for our clients with good vehicle and skilled driver.
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He Zhigao (和志高), male, of the Lisu ethnic group (傈僳族), was born in 1956 in Zhali Natural Village (咱利自然村), Meile Village (美乐村), Pantiange Township (攀天阁乡), Weixi County (维西县), Diqing...
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