Zhang Qingchang – Representative Inheritor of Jianchuan Wood-carving Project in Jianchuan County, Dali 

大理州剑川县金华镇剑川木雕技艺项目代表性传承人 – 张庆昌

http://www.ynich.cn/view-ml-13111-3158.html

Yang Benlei – Representative Inheritor of Yi Traditional Medicine Project in Lucheng Town, Chuxiong 

楚雄州鹿城镇彝族医药项目代表性传承人 – 杨本雷

http://www.ynich.cn/view-ml-13111-3159.html

Yu Huixiang – Representative Inheritor of Yi Traditional Medicine Project in Lufeng County, Chuxiong 

楚雄州禄丰县舍资镇彝族医药项目代表性传承人 – 余惠祥

http://www.ynich.cn/view-ml-13111-3160.html

Yin Nong – Representative Inheritor of Dai and Naxi Manual Paper-making Craft Project in Gengma County, Lincang 

临沧市耿马县孟定镇傣族、纳西族手工造纸技艺项目代表性传承人 – 引弄

http://www.ynich.cn/view-ml-13111-3152.html

Yu Nannan (玉喃囡), born in 1956 in Manyan Village (曼燕村), Mengzhe Town (勐遮镇), Menghai County (勐海县), Xishuangbanna Dai Autonomous Prefecture (西双版纳傣族自治州), is a representative inheritor of Dai slow-wheel pottery making (傣族慢轮制陶技艺). Growing up in a traditional pottery-making family, she mastered the craft in her teens and has become one of the most skilled Dai pottery artisans in Menghai County.

Technical Characteristics

The Art of Slow-wheel Pottery

This ancient technique features:

• Hand-building on slow-turning wheels
• Textured surfaces created with patterned wooden paddles
• Clay mixed with sand for improved workability

The complete process includes:

1. Pounding and sifting clay
2. Mixing with sand and water
3. Installing the turntable
4. Coiling and shaping
5. Paddling to create patterns
6. Drying and firing

Preservation Efforts

Passing the Legacy

As a master artisan, Yu Nannan:

• Maintains authentic traditional methods
• Trains new generations of potters
• Supports the construction of a Slow-wheel Pottery Experience Center

This upcoming center will:

• Exhibit traditional Dai pottery
• Offer hands-on workshops for visitors
• Promote cultural tourism

Recognized as a National Intangible Cultural Heritage, Dai slow-wheel pottery embodies the Dai people’s cultural memory and aspirations for a beautiful life.

For Chinese version please go to:
http://www.ynich.cn/view-ml-13111-3153.html

Yu Nan’en (玉南恩), provincial representative inheritor of Dai slow-wheel pottery (傣族慢轮制陶技艺), hails from Manfeilong Village (曼飞龙村), Menglong Town (勐龙镇), Jinghong City (景洪市), Xishuangbanna Dai Autonomous Prefecture (西双版纳傣族自治州). Beginning her pottery journey at 19, she has dedicated over 30 years to preserving this ancient craft. Married into a 10-generation pottery family where both her grandmother-in-law and mother-in-law were master potters, Yu continues their legacy by producing thousands of functional wares and decorative pieces annually using traditional methods.

The Artisan’s Craft

Time-Honored Techniques

This Neolithic-era pottery method features:

• Hand-building on manually-rotated wheels
• Distinctive textured surfaces created with carved wooden paddles
• Reinforced clay bodies using local sand mixtures

The complete 10-step process:

1. Clay preparation (pounding/sifting)
2. Material mixing (clay/sand/water)
3. Turntable setup
4. Coil construction
5. Pattern imprinting
6. Sun drying
7. Kiln preparation
8. Wood-firing

Cultural Stewardship

Passing the Wheel

Yu Nan’en’s preservation efforts include:

• Training 2,000+ apprentices
• Pioneering “Intangible Heritage + School” programs
• Hosting student workshops to raise awareness
• Improving family income through cultural production

Her pottery bridges:

• Generations (teaching youth)
• Ethnic groups (adopted by Han, Blang, and Hani communities)
• Nations (exported to Thailand/Myanmar)

Socioeconomic Impact

Clay That Builds Communities

In 2023 alone, Manfeilong Village (曼飞龙村) saw:

• 10,000+ cultural tourists
• 600,000+ RMB dining revenue
• 2,000,000+ RMB collective income growth

Yu’s works combine:

• Modern functionality
• Ethnic artistry
• Economic viability

As this provincial-level intangible cultural heritage inheritor continues her mission, each hand-shaped vessel carries forward a millennium of Dai wisdom into the future.

For Chinese version please go to:
http://www.ynich.cn/view-ml-13111-3154.html

Yan Wenhanzai (岩温罕在), born in 1951 in Manxiao Village (曼校村), Manda Village Committee (曼达村委会), Gasa Town (嘎洒镇), Jinghong City (景洪市), Xishuangbanna Dai Autonomous Prefecture (西双版纳傣族自治州), is the provincial-level representative inheritor of Dai traditional rocket (高升) making techniques.

Technical Mastery

The Rocket Maker’s Journey

Apprenticed in 1980 under master Yan Xianghe (岩香贺) from Gasa Manda Village (嘎洒曼达村), Yan Wenhan mastered:

• Precise gunpowder formulation
• Secure powder packing techniques
• Traditional bamboo binding methods
• Ornamental decoration skills

Innovations in Tradition

Modernizing an Ancient Craft

Yan’s groundbreaking improvements include:

Material revolution – Replacing bamboo powder chambers with lightweight paper tubes

Safety enhancements – Refined construction for stable launches

Pyrotechnic optimization – Customized gunpowder mixtures for:

• Stronger thrust
• Stable trajectories
• Future multicolor effects

Aesthetic upgrades – Vibrant decorations complementing the rockets’ thunderous ascent

Cultural Impact

Rockets That Unite Communities

During Water Splashing Festival (泼水节):

• Yan’s rockets sell out immediately
• Buyers travel from distant villages
• Six apprentices continue his legacy since 1990

His creations are celebrated for:

• Brilliant chromatic displays
• Powerful vertical ascent
• Resonant sonic booms

Preservation Legacy

Passing the Flame

Yan Wenhanzai’s dual mission:

Technical innovation to advance the craft

Intergenerational transmission through:

• Hands-on apprenticeships
• Community demonstrations
• Cultural promotion

Through these efforts, this provincial intangible cultural heritage inheritor ensures Dai rocketry remains both a living tradition and evolving art form.

For Chinese version please go to:
http://www.ynich.cn/view-ml-13111-3156.html

Wang Lizhu is recognized as the inheritor of the production techniques of Mengzi “Crossing Bridge Rice Noodles” in Honghe Prefecture, Yunnan Province. This traditional culinary art is renowned for its meticulous preparation process and the distinctive flavor that sets it apart as a local specialty.

Key Aspects and Cultural Significance

• Artisanal Craftsmanship:
  Wang Lizhu has mastered the unique techniques involved in making Crossing Bridge Rice Noodles. This process typically involves carefully preparing a steaming hot, rich broth, freshly made rice noodles, and a variety of ingredients that are combined at the table. The delicate balance of these components creates a dish that is both aromatic and satisfying.

• Cultural Preservation:
  As an inheritor of this traditional culinary technique, Wang Lizhu plays a vital role in preserving an important part of Yunnan’s gastronomic heritage. Her expertise ensures that the authentic methods passed down through generations are maintained, contributing to the continuity of local culture.

• Local and Regional Impact:
  The art of making Crossing Bridge Rice Noodles is not only a culinary tradition but also a cultural symbol in the region. By continuing this practice, Wang Lizhu helps promote local tourism and cultural pride, enabling both residents and visitors to appreciate the rich history and flavor of Honghe cuisine.

Conclusion

Through her dedication and skill, Wang Lizhu ensures that the art of making Mengzi Crossing Bridge Rice Noodles remains vibrant and true to its roots. Her contributions are a testament to the importance of preserving traditional culinary techniques and highlight the unique cultural heritage of Honghe Prefecture in Yunnan Province.

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

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Zhang Qingchang – Representative Inheritor of Jianchuan Wood-carving Project in Jianchuan County, Dali

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Yu Nannan – Representative Inheritor of Dai Slow-wheel Pottery Making Skills in Menghai County, Xishuangbanna

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