Profile of He Yuxin
He Yuxin, male, Naxi ethnicity, was born in October 1954 in Baidi Village (白地村), Sanba Naxi Ethnic Township (三坝纳西族乡), Shangri-La County (香格里拉县), Diqing Tibetan Autonomous Prefecture (迪庆藏族自治州). He is the representative inheritor of the Dai and Naxi traditional papermaking craft.
Inheritance Background
Born into a Dongba (东巴) family, He Yuxin was deeply influenced by traditional culture from childhood. His father He Zhiben was among the first group of national-level intangible cultural heritage inheritors for Dai and Naxi papermaking. In 1992, He Yuxin formally learned the craft from his father, and after nearly 20 years of practice and refinement, his skills have matured significantly.
Traditional Papermaking Craft
The Naxi Dongba paper (东巴纸), also called Baidi paper (白地纸), features unique production techniques primarily preserved in Baidi Village (白地村). Baidi (白地) (White Water Terrace) is the birthplace of Naxi Dongba culture, and Dongba paper serves as the most important medium for writing Dongba scriptures.
The papermaking process includes:
- Raw material collection
- Sun-drying
- Soaking
- Boiling
- Washing
- Pulp pounding
- Paper casting
- Sheet pasting
- Sun-drying
Main tools include:
- Paper screens
- Wooden frames
- Drying boards
- Wooden mortars
Characteristics of Dongba paper:
- Ivory-white color
- Thick yet flexible texture
- Uniform thickness
- Coarse fibers
- Mothproof properties
- Exceptional durability
Inheritance and Influence
He Yuxin has mastered the complete Naxi papermaking technique and enjoys high recognition locally. His Baidi paper (白地纸) is revered by Dongba practitioners as premium material and widely used among locals. Since 1999, his craftsmanship has attracted attention from domestic and international media and academic institutions. He has trained his son He Shujun as the next inheritor to continue this ancient craft.
Preservation and Transmission
The Naxi papermaking tradition follows strict patrilineal inheritance through family workshops, making its continuation challenging in modern society. As an inheritor, He Yuxin not only fulfills his father’s legacy but also actively cultivates apprentices to ensure the craft’s survival.
He Yuxin’s contributions extend beyond technical mastery – as the representative inheritor of Dai and Naxi papermaking, he has made significant efforts to preserve and promote this intangible cultural heritage.
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Background and Heritage
Su Zhaoxiang (苏照祥), male, of Hani (哈尼族) ethnicity, was born in 1957 in Yangjie Township (羊街乡), Yuanjiang Hani, Yi and Dai Autonomous County (元江哈尼族彝族傣族自治县), Yuxi City (玉溪市). He is a provincial-level representative inheritor of the intangible cultural heritage project of bamboo musical instrument craftsmanship.
Learning and Inheritance
Growing up in a Hani (哈尼族) village, Su Zhaoxiang (苏照祥) began learning bamboo musical instrument craftsmanship from his father at the age of eight. With exceptional talent and diligent practice, he gradually mastered this unique skill. Over the years, he has created dozens of types of bamboo instruments, including zhudi (竹笛), mentong (闷筒), zhusuoguan (竹索管), obi (哦哔), bili (哔哩), covering high, middle, and low tonal ranges.
Artistic Characteristics
Su Zhaoxiang’s (苏照祥) bamboo instruments retain traditional craftsmanship while incorporating creative innovations. His instruments feature novel shapes and unique designs that reflect both local characteristics and modern aesthetics. His playing techniques are diverse—blowing, tapping, striking, shaking, plucking, and scraping—enabling him to produce beautiful music from simple instruments.
Inheritance and Preservation
Fully aware of the cultural value and significance of bamboo musical instrument craftsmanship, Su Zhaoxiang (苏照祥) actively participates in efforts to preserve intangible cultural heritage. He teaches the craft in his village and promotes it through cultural events and performances, introducing more people to this traditional art. In August 2009, bamboo musical instrument craftsmanship was successfully listed in the second batch of Yunnan Province’s (云南省) intangible cultural heritage items.
Cultural Activities and Showcases
Su Zhaoxiang (苏照祥) has participated in several important cultural activities, including:
Nie Er Bamboo Orchestra (聂耳竹乐团)
As a key member of the Nie Er Bamboo Orchestra, Su Zhaoxiang (苏照祥) has taken part in numerous domestic and international performances, showcasing the unique charm of bamboo musical instruments.
International Performances
In 2008, he participated in the closing ceremony performance of the Beijing Olympic Games (北京奥运会). In 2009, he performed in the cultural show at the closing ceremony of the Shanghai World Expo (上海世博会).
Local Cultural Activities
Su Zhaoxiang (苏照祥) also actively takes part in local events such as cultural festivals and folk activities in Yuanjiang County (元江县), where he promotes bamboo musical instrument craftsmanship through live performances and demonstrations.
As a master of bamboo musical instrument craftsmanship, Su Zhaoxiang (苏照祥) has not only achieved great artistic accomplishments but also made significant contributions to the transmission and promotion of this intangible cultural heritage.
International Performances by Su Zhaoxiang: Unique Aspects
1. Cultural Exchange and Recognition
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Global Exposure: Su Zhaoxiang’s participation in international events such as the Beijing Olympics and Shanghai World Expo has provided a global platform for showcasing the unique charm of bamboo musical instruments. These performances have not only highlighted the cultural significance of these instruments but also garnered international recognition.
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Cultural Enrichment: His performances have enriched the cultural landscape of these international events, offering a glimpse into the rich musical heritage of Yunnan. This exposure has helped bridge cultural gaps and foster a deeper understanding of traditional Chinese music.
2. Innovative Performances
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Diverse Instruments: Su Zhaoxiang is known for his ability to create and play a wide variety of bamboo instruments, each with unique sounds and techniques. This diversity has captivated audiences with its novelty and creativity.
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Unique Playing Techniques: His mastery of various playing techniques, including blowing, striking, and scraping, has added a unique dimension to his performances. These techniques have been praised for their ability to evoke a wide range of emotions and musical expressions.
3. Educational and Outreach Activities
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Workshops and Demonstrations: Su Zhaoxiang actively participates in workshops and demonstrations, sharing his knowledge and skills with a global audience. These activities have not only promoted the art of bamboo instrument making but also inspired a new generation of artisans.
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Cultural Exchange Programs: His involvement in cultural exchange programs has facilitated the transfer of knowledge and skills across borders, fostering a sense of global cultural unity.
4. Impact and Reception
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Audience Engagement: His performances have been met with overwhelming enthusiasm and appreciation from international audiences. The unique sounds and visual appeal of the bamboo instruments have left a lasting impression on viewers.
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Media Coverage: Su Zhaoxiang’s international performances have received extensive media coverage, further enhancing the visibility and recognition of bamboo musical instruments. This coverage has helped to spread awareness of the cultural significance of these instruments globally.
5. Cultural Preservation and Innovation
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Combining Tradition and Modernity: Su Zhaoxiang’s approach to bamboo instrument making combines traditional craftsmanship with modern design elements. This fusion has created instruments that are both culturally authentic and visually appealing to contemporary audiences.
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Sustainability and Innovation: His efforts to innovate and adapt traditional techniques have ensured the sustainability of this art form, making it relevant in the modern world. This approach has helped to preserve the cultural heritage while ensuring its continued relevance and appeal.
Through these efforts, Su Zhaoxiang has not only showcased the unique charm of bamboo musical instruments on the global stage but also contributed significantly to the preservation and promotion of this traditional art form.
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Background
Meng Zigang (蒙自刚), male, of the Zhuang ethnic group, was born in 1974 in Poxian Village (坡现村), Babao Town (八宝镇), Guangnan County (广南县), Wenshan Zhuang and Miao Autonomous Prefecture (文山壮族苗族自治州), Yunnan Province (云南省). He is a representative inheritor of the Zhuang silverware crafting technique in Babao Town. Born into a family of silversmiths, he developed a deep interest in traditional Zhuang silverware making from a young age.
Learning the Craft and Cultural Inheritance
Meng Zigang began learning the craft from his father at the age of 12 and officially started working in silver crafting in 1994. Under the guidance of his elders, he acquired many refined techniques. Later, he left the Guangnan Silverware Association to start his own business at home.
In June 2010, he was recognized as a “Provincial Representative Inheritor of Yunnan Province Intangible Cultural Heritage” by the Yunnan Provincial Department of Culture and the Ethnic Affairs Commission. In 2016, he was honored as an “Outstanding Inheritor of Guangnan County Intangible Cultural Heritage” and received two honorary certificates from the China Yangtze River Intangible Cultural Exhibition.
Innovation and Development
Despite a shrinking market, Meng Zigang persevered and began to shift public perception. Through continuous learning and training, he improved his techniques and merged traditional craftsmanship with modern aesthetics to appeal to contemporary tastes.
He was the first in Poxian Village to move into a commercial area on the pedestrian street in Babao Town and established a storefront for silverware production and sales.
Innovatively, he combined traditional ethnic designs with new techniques such as filigree inlay (掐丝), flower assembling (攒花), welding, knotting, cloisonné on copper base (铜胎掐丝珐琅), filigree embedding (花丝镶嵌), and engraving (錾刻), applying various types of embossed (浮雕) designs to jewelry. These techniques greatly enhanced the three-dimensionality and artistic layering of his silver pieces.
Inheritance and Teaching
Meng Zigang established training workshops in Babao Town to teach his craft to younger generations. He also runs a free apprenticeship program at his home-based studio, teaching every aspect of silverware making in great detail—one strike, one chisel at a time.
As a representative inheritor of the Zhuang silverware craft, Meng Zigang is not only highly skilled but also deeply committed to the preservation and transmission of this intangible cultural heritage.
Meng Zigang’s Innovations in Traditional Craftsmanship
Integration of Traditional and Modern Techniques
Mechanized Production: Meng Zigang introduced mechanical equipment for early production processes such as silver melting and hammering, significantly improving efficiency. This allowed him to devote more time to design and detailed carving.
Innovative Design: Through training and observing outstanding works, he continuously refreshed his design ideas, combining traditional patterns with modern aesthetics to create silverware that better suits contemporary tastes.
Technical Innovations
Multi-layered Designs: He pioneered multi-layered silver jewelry designs, enhancing visual depth and texture. These artistic upgrades increased the decorative appeal and cultural value of his pieces.
Embossing Techniques: By integrating embossed reliefs with varied shapes and depths into jewelry, he brought vivid life to silver adornments.
Application of New Techniques: Meng combined ethnic elements with advanced craftsmanship techniques including filigree, flower assembling, welding, knotting, cloisonné on copper, filigree inlay, and engraving.
Market Expansion and Transmission
Establishment of a Heritage Workshop: Meng Zigang set up a heritage learning center to freely teach apprentices and ensure the continuation of the craft.
Product Diversification: In addition to traditional jewelry, he developed new silver products such as teapots and silver sculptures, boosting market competitiveness.
Online and Offline Sales: Beyond traditional in-person sales, Meng also leveraged e-commerce platforms to reach a wider audience and promote Zhuang silverware globally.
Cultural Transmission and Social Responsibility
Promotion of Ethnic Culture: His silverware not only serves as artistic expression but also as a vessel of Zhuang cultural heritage.
Rural Revitalization: His work has created income opportunities for local villagers, helping to alleviate poverty and stimulate local economic development.
Through these innovations, Meng Zigang has breathed new life into Zhuang silverware craftsmanship, safeguarding traditional techniques while advancing the culture in a modern context.
Artistic Features of Meng Zigang’s Silverware Works
Fusion of Tradition and Modernity
While preserving traditional craftsmanship, Meng incorporated modern technologies and design philosophies. His evolving mindset and improved techniques led to silver ornaments that better match modern aesthetics. For instance, he created fresh styles that blend traditional motifs with contemporary design.
Multi-layered Design and Embossed Art
Meng pioneered multi-layered silver jewelry, enriching its dimensional and textural appeal. He applied embossed reliefs with diverse shapes and intricate depth into his pieces, significantly enhancing their artistic value and visual impact.
Ethnic Characteristics and Cultural Symbolism
Meng’s silverware strongly reflects ethnic identity. He designed symbolic silver ornaments based on cultural elements of the Zhuang, Miao (苗族), and Yao (瑶族) peoples—for example, necklaces and bracelets worn by Zhuang brides and traditional silver adornments used in Yao weddings.
Masterful Craftsmanship
Each piece crafted by Meng Zigang undergoes a meticulous process involving “a thousand hammers and ten thousand strikes.” He has mastered numerous techniques, including filigree, flower assembling, welding, knotting, cloisonné on copper base, filigree inlay, and engraving.
Diversified Product Range
Besides traditional silver jewelry, Meng developed a variety of new items like silver teapots and sculptural decorations, catering to broader consumer demand and enhancing the commercial viability of Zhuang silverware.
Cultural Heritage and Social Impact
Meng places great importance on passing down the tradition. He set up a heritage workshop in the bustling pedestrian area of Babao Town to teach students for free. His aim is to ensure that the Zhuang silverware craft continues to thrive for future generations.
Meng Zigang’s silver creations are more than just art—they are embodiments of Zhuang cultural identity. His dedication not only preserves traditional skills but also makes a lasting contribution to the transmission and growth of Zhuang culture.
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Ma Shiming – Representative Inheritor of Zuoque Inkstone-making Craft Project in Yongren County, Chuxiong
楚雄州永仁县永定镇苴却砚制作技艺项目代表性传承人 – 马世明
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Guan Shengkuo – Representative Inheritor of Xuanwei Ham-making Craft Project in Xuanwei City, Qujing
曲靖市宣威市宣威火腿项目代表性传承人 – 管升阔
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Ruan Shilin – Representative Inheritor of Traditional Puerh Tea-making Craft Project in Lingxiang District, Lincang/临沧市临翔区邦东乡普洱茶传统制作技艺项目代表性传承人 – 阮仕林
Ruan Shilin has been deeply involved in the production of Bangluo Tuan tea, a traditional Puerh tea-making technique, since childhood. Under the guidance of Liu Guanglong, he learned the tea-making methods handed down through generations. Ruan is dedicated and passionate about his craft, strictly adhering to the principle of processing the tea immediately after picking. The tea tree variety he uses is a rare, ancient cultivar exclusive to the Lancang River region. The picking standard is one bud and two leaves, locally known as “one leaf embraces two leaves.”
With over 30 years of experience and innovation, Ruan has refined his traditional tea-making skills to a high level. He has mastered every stage of the process and developed a unique style, producing tea of exceptional quality at fair prices. Today, Bangluo Tuan tea is esteemed as the highest gift in Linxiang District and is treasured by Puerh tea enthusiasts and collectors.
Ruan Shilin now mentors apprentices, including Ruan Jinwei, and is a prominent tea maker in the region. Under his guidance, the village has prospered through the production, processing, and sale of tea, making significant contributions to the preservation of traditional tea-making techniques.
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Yang Yongfen is a representative inheritor of the Miao batik craftsmanship project in Kaihua Town (开化镇), Wenshan County (文山县), Wenshan Prefecture (文山州). From a young age, she learned batik techniques from her mother. With a deep passion for Miao culture and a steadfast dedication to traditional crafts, she has gradually become an outstanding figure in the local batik community.
The Inheritance and Innovation of Batik Craftsmanship
Preserving Traditional Techniques
Yang Yongfen has mastered the traditional techniques of Miao batik, including the production process, pattern design, and dyeing methods. She insists on using natural wax and dyes, preserving the traditional charm of batik art.
Innovative Designs
Building upon the foundations of tradition, Yang Yongfen continuously explores innovative approaches, incorporating modern design concepts into her batik works. Her creations retain classic Miao motifs while integrating contemporary aesthetics, resulting in fresh and stylish designs.
Cultural Inheritance and Social Responsibility
Passing Down the Craft
Yang Yongfen actively participates in efforts to preserve batik craftsmanship. Through training sessions and workshops, she teaches local residents and young people the art of batik. Her work not only helps protect this intangible cultural heritage but also provides new income opportunities for the local community.
Promoting the Culture
Yang also takes part in cultural events and exhibitions, showcasing the charm of Miao batik to broader audiences and raising awareness of this traditional art form.
Distinctive Features of Her Work
Yang Yongfen’s batik works are renowned for their unique artistic style. Her patterns are intricate, and her color choices are vivid, reflecting the rich cultural heritage of the Miao people. Her creations are popular not only in China but also on international stages, introducing Miao batik to global audiences.
As a representative inheritor of Miao batik craftsmanship, Yang Yongfen not only demonstrates exceptional technical skill but also makes significant contributions to the preservation and promotion of this intangible cultural heritage.
The International Response to Yang Yongfen’s Batik Works
Yang Yongfen’s batik creations have earned widespread acclaim both in China and internationally. Her works captivate collectors and art enthusiasts around the world with their distinct artistic style and deep cultural connotations.
1. International Exhibitions and Awards
Yang Yongfen’s batik pieces have been featured in numerous international exhibitions and have received several prestigious awards. Her work “Miao Wedding” (《苗家婚事》) won a gold medal at the inaugural China Master Crafts Exhibition in 2000. Her art has also been showcased at the Musée de l’Homme in France during a batik-themed exhibition, highlighting the diversity and innovation of batik art.
2. Recognition from the International Collector Community
Her batik piece “Double Flying Apsaras” (《双飞天》), which uses colored wax-dyeing to recreate the rustic elegance of Dunhuang murals, is considered a groundbreaking contribution to Chinese art history. Upon release, the work made a sensational impact in Japan’s collector circles, with many seasoned collectors eager to acquire it.
3. Inheritance and Innovation of Culture
Building upon traditional batik techniques, Yang Yongfen has introduced bold innovations. While maintaining the traditional blue-and-white palette and ethnic aesthetics, she has incorporated modern art elements such as watercolor and oil painting, breathing new life into batik art. These innovations have attracted international attention and paved new paths for the future of batik craftsmanship.
4. Attention from the International Art Community
Yang’s works have sparked broad interest in the international art world. Her batik creations have been exhibited at global art events and praised by international art critics. They are seen not merely as traditional art forms, but as pioneering expressions of modern artistic innovation.
5. Cultural Exchange and Collaboration
Yang Yongfen actively engages in international cultural exchange, introducing Chinese batik art to global audiences through exhibitions and lectures. Her efforts not only enhance the international visibility of batik art but also foster mutual understanding and cultural exchange between different communities.
Yang Yongfen’s batik works have garnered significant recognition and praise on the international stage. Her creations showcase the charm of traditional Chinese culture while bringing fresh vitality to the art form through innovation, establishing her as a leading figure in both preserving and advancing Miao batik craftsmanship.
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A Heritage of Zhuang Embroidery
Lu Yufu is a representative inheritor of the Zhuang embroidery techniques in Liancheng Town (莲城镇), Guangnan County (广南县), Wenshan Prefecture (文山州). Born into a family of skilled Zhuang embroiderers, she began learning the craft from her mother at a young age. Over the years, she has accumulated extensive experience and mastered the intricate techniques of Zhuang embroidery.
Inheritance and Innovation of Zhuang Embroidery Techniques
Preserving Traditional Techniques
Lu Yufu has mastered a wide range of traditional Zhuang embroidery techniques, including flat stitch, cutwork, knot embroidery, punch needle, and patchwork. Her works are known for their diverse compositions, exquisite craftsmanship, and aesthetic appeal. Common motifs in her embroidery include flowers, butterflies, birds, beasts, and insects, reflecting a strong sense of ethnic identity.
Innovative Designs
While rooted in tradition, Lu Yufu constantly explores new ideas by incorporating modern design concepts into her embroidery. Her works retain the traditional charm of Zhuang embroidery while reflecting contemporary aesthetics through innovative and stylish designs.
Cultural Heritage and Social Responsibility
Efforts in Passing Down the Craft
Lu Yufu is actively involved in passing down Zhuang embroidery skills by organizing training sessions and workshops for local residents and youth. Her daughter, Lu Huaifang (陆怀芳), has also followed in her footsteps and become a prefecture-level representative inheritor of Zhuang embroidery.
Promoting the Culture
By participating in various cultural events and exhibitions, Lu Yufu showcases the beauty of Zhuang embroidery to a wider audience, increasing public recognition and appreciation of this traditional art form.
Unique Artistic Features of Lu Yufu’s Embroidery
Lu Yufu’s embroidery is known for its distinctive artistic style, featuring exquisite patterns and vibrant colors that reflect the profound cultural heritage of the Zhuang people. Her works are well received both in China and abroad, bringing global attention to the charm of Zhuang embroidery.
As a representative inheritor, Lu Yufu has not only achieved mastery in her craft but also made significant contributions to the preservation and promotion of this intangible cultural heritage.
Characteristics of Lu Yufu’s Embroidery Works
Lu Yufu, as a representative inheritor of Zhuang embroidery techniques from Liancheng Town (莲城镇), Guangnan County (广南县), Wenshan Prefecture (文山州), has created embroidery works with unique artistic styles and deep cultural significance. The following are the main features of her work:
1. Rich Symbolic Patterns
Her embroidery features a variety of motifs with strong ethnic characteristics and rich cultural meanings. Common motifs include peonies, marigolds, roses, orchids, magpies, butterflies, fish, pine trees, cranes, and deer. Each pattern conveys a symbolic message—for example, fish represent abundance and prosperity, peaches symbolize the hardships of parenting, rabbits signify hope for a fast and successful future for children, bitter melons represent the ability to endure hardship, and butterflies symbolize eternal love and companionship.
2. Mastery of Exquisite Techniques
Lu Yufu has mastered various embroidery techniques, such as flat stitch, patchwork, puff embroidery, and knot embroidery. Her works are meticulously crafted with dynamic and varied designs. While preserving traditional craftsmanship, she introduces modern elements to enhance the aesthetic appeal, making her works more suitable for contemporary tastes.
3. Distinct Ethnic Style
Her works embody strong ethnic style and local characteristics. From composition and color to patterns, her embroidery reflects the unique cultural identity of the Zhuang people, their lifestyle, and their aesthetic values. These works serve not only as art but also as important carriers of Zhuang cultural heritage.
4. Combining Innovation with Practical Use
Building on traditional craftsmanship, Lu Yufu has boldly innovated her designs. Her works are not only decorative but also practical. For example, her embroidered silk balls are finely crafted with a perfect balance of firmness and flexibility, making them both durable and enjoyable to handle. Her embroidery is also widely used in everyday items such as baby carriers, quilt covers, backpacks, handbags, and aprons.
5. Commitment to Cultural Transmission and Promotion
Lu Yufu is dedicated to the transmission and promotion of embroidery techniques. She has held multiple training sessions to teach local women, fostering a new generation of skilled embroiderers. Her works have gained popularity not only within China but also on the international stage, helping more people discover and appreciate the beauty of Zhuang embroidery.
Lu Yufu’s embroidery stands out for its intricate patterns, refined craftsmanship, strong ethnic style, and innovative design. Her dedication has not only preserved this form of intangible cultural heritage but also contributed to the continued development and transmission of Zhuang culture.
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Biography
Lu Zhantang (陆占堂), male, of the Yao ethnic group, was born in 1945 in Chongge Village (冲革村), Jinping Town (锦屏镇), Qiubei County (丘北县), Wenshan Zhuang and Miao Autonomous Prefecture (文山壮族苗族自治州). He is the representative inheritor of the Yao Indigo Dyeing Technique (瑶族蓝靛制作技艺).
Characteristics of the Indigo Dyeing Technique
Natural Dye
Yao indigo is a pure, natural plant-based dye known for its vibrant color, pleasant fragrance, and antibacterial and mothproof properties. It is primarily used in batik and general fabric dyeing. It is also favored by traditional Chinese painters as a botanical source of indigo pigment.
Complex Craftsmanship
The process of making Yao indigo is intricate and follows precise methods. Indigo plants are typically harvested around August and September when they are lush and have high juice yield and pure color. The process includes:
- Placing fresh indigo plants into a fermentation pit to soak in water until the water turns blue and releases a pleasant indigo scent. The plants are then removed using wooden rakes and sieves to filter the juice.
- Adding powdered quicklime into the pit, stirring vigorously with wooden sticks until green foam rises to the surface.
- Sealing the pit tightly to avoid sun or rain exposure.
- After two days, lime and indigo water undergo sedimentation. The waste water on top is drained, and the semi-solid indigo slurry at the bottom is transferred to a storage pool and left to dry for 3–5 days until it becomes a paste.
- The indigo paste is stored at home for future use. When needed, it is mixed with water and edible alcohol in a dyeing vat.
Inheritance and Innovation
Tradition Passed Down
Lu Zhantang began learning the indigo craft from his father at the age of 15. After five years, he became proficient, with deep experience in both cultivating and processing indigo. He selects high-quality seeds and rotates planting locations to ensure robust growth and high juice yield.
Innovative Improvements
Lu pays close attention to the proportions of lime, soaking time, and intensity of stirring. His produced indigo is smooth and fine in texture, with a vibrant, jewel-like blue hue.
Cultural Significance
The Yao Indigo Dyeing Technique is a product of the Yao people’s diligence and wisdom. As a traditional craft passed down for centuries, preserving this technique is vital for developing ethnic craftsmanship and for anthropological and ethnological studies. As a key inheritor, Lu Zhantang not only masters the art but also plays a crucial role in safeguarding this intangible cultural heritage.
Contemporary Relevance of the Yao Indigo Dyeing Technique
Cultural Preservation and Heritage
Ethnic Culture
As a traditional handmade craft passed down through generations of Yao people, the indigo dyeing technique embodies Yao history, culture, and ethnic spirit. Preserving it helps retain unique cultural memory and strengthens cultural identity and pride among the Yao people.
Intangible Cultural Heritage
As a provincial-level intangible cultural heritage, the preservation of this technique enriches China’s cultural heritage. It helps promote traditional Chinese culture and offers valuable resources for anthropological and historical research.
Environmental and Sustainable Development
Eco-friendly Dye
Using purely natural indigo plants, the dyeing process is free from harmful chemicals. It is truly eco-friendly. In a society increasingly concerned with sustainability, natural indigo offers a green alternative to chemical dyes, reducing environmental pollution in textile dyeing.
Sustainability Practices
The inheritance of indigo craftsmanship aligns with sustainable development. Indigo plant cultivation brings income to local residents while enhancing environmental protection. Furthermore, it boosts cultural tourism and related industries, supporting balanced development across economic, social, and environmental dimensions.
Arts and Creative Industries
Artistic Use
The vibrant and pleasant qualities of indigo dye make it popular in contemporary art. It is used not only in traditional Chinese painting but also in handmade crafts and decorative pieces, providing rich inspiration and materials for artists.
Cultural Creative Product Design
By integrating traditional techniques with modern design, many culturally unique and contemporary creative products have emerged. For example, designers have blended indigo-dyed textiles with modern fashion design to create stylish clothing with a traditional flair. These innovations offer more consumer choices and breathe new life into traditional culture.
Economic Development
Local Industry Growth
The preservation of indigo craftsmanship fosters the development of local cultural industries. In Qiubei County (丘北县), Yunnan, local authorities encourage artisans, support indigo cultivation in villages, and organize competitions and exhibitions to promote the craft. This also boosts tourism and handmade industries, increasing employment and income for locals.
Branding and Market Expansion
With rising interest in traditional culture and natural products, indigo-based items hold a competitive edge. Strengthening branding and marketing can broaden their reach, increase value, and contribute more to local economic growth.
Education and Research
Educational Value
The technique offers rich resources for education. Schools can integrate it into their curricula to teach students about Yao culture, fostering pride and awareness. Practical lessons can enhance students’ hands-on and creative skills.
Research Value
As a traditional craft, the technique has high research potential. Studies can reveal Yao history, lifestyle, and social changes. Scientifically, it invites exploration into the chemistry, processes, and principles behind natural dyeing, providing insights for modern textile and dye industries.
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Li Shuming – Representative Inheritor of Yueqin-making Craft Project in Nanhua County, Chuxiong
楚雄州南华县龙镇月琴制作技艺项目代表性传承人 – 李树明
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About The Kunlushan Mountain
The Kunlushan Mountain is a remnant of Wuliang Mountain. It is affiliated to Kunlushan Natural Village, Ninglang Town, Ninglang Town, Ninglang County , Yunnan Province . It is located 31 kilometers north of Pu’er County, between 1410 meters and 2271 meters above sea level. The central section extends over a dozen miles from north to south, and is wide and wide. The peaks of the mountains are stacked, the ancient trees are towering, and the highest peak is 2271 meters above sea level. The Kunlushan ancient tea tree community spans Fengyang and Jiangbian two townships, with a total area of 10,122 mu. Among them, there are 1939 mu in the Xiulong Mountain of Ninglang Town, which is a virgin forest formed by semi-cultivated tea tree community and broad-leaved forest. Because there is thousands of acres of ancient tea gardens for thousands of years, it is known as the “tea museum” and passed down to the royal tea garden of the Qing Dynasty. The No. 3 tea tree in Kunlushan Mountain has a DBH of 2.53 meters and a tree height of about 25 meters. It is the most well-preserved and the biggest cultivated ancient tea tree discovered by the famous Taiwanese tea merchant Huang Chuanfang. It has been funded by famous actor Zhang Guoli. 10,000 yuan for lifelong adoption.
The Kunlushan Mountain is also the watershed of the Lancang River and the Red River. The Kunlushan Mountain has attracted the attention of the world.
Tea garden was discovered
In the area of Ninglang County, Pu’er City, there is a long history of planting tea and drinking tea. The tea culture is profound and the tea resources are extremely rich. It is located in the Kunlushan Mountain of Ninglang County and Jinggu County. The mountains are high and the mountains are covered with clouds and the rain is abundant. Among the ancient tea trees, there are many ancient trees that have been preserved for many years and it is also one of the only remaining virgin forests in Pu’er. The total area of the Kunlushan Mountain ancient tea tree community is 10,122 mu. The land spans Fengyang and the two townships. The Lushan ancient tea garden is divided into four parts: east, south, west and north. There are also large-scale artificial cultivation and transitional ancient tea resources in Bianxiang and Dawn Township.
In November 2004, December 2005, and April 2006, a number of experts from the Chinese Academy of Agricultural Sciences and other organizations organized three key scientific investigations on the Kunlushan Mountain tea tree community, and made an argument: “The Kunlushan Mountain cultivated tea tree has a history of at least 400 years; its semi-cultivated (transitional) tea tree has been more than 1,000 years old.” Once again, it is proved that the Kunlushan Mountain is in the center of the origin of the tea plant. This is the 1939-mu semi-cultivated (transitional) tea tree community found in the Kunlushan Mountain in 1986. The Kunlushan Mountain, which has faded out of the rivers and lakes for nearly 300 years, has re-entered people’s vision.
As Pu’er tea continues to heat up, more and more people of insight have shaken off the historical prejudice and experience and understand the Kunlushan Mountain along the ancient tea-horse road. The Kunlushan Mountain is a remnant of the Wuliang Mountain, and it is under the jurisdiction of Ninglang (formerly Pu’er) County. Between 1410 and 2271 meters above sea level, the peaks of the mountains are stacked, the ancient trees are towering, and the ancient tea tree community of Lushan is across Fengyang and the two townships, with a total area of over 10,000 mu. The Kunlushan Mountain Range is the same as the ancient tea tree community in Jinggu and Zhenyuan counties. The ancient tea tree community totals more than 30,000 mu.
Allusions
According to the “World birthplace of tea, tea are” records, Shen Nong discovered trapped Kunlushan in Pu’er, training of a wild tea. According to Shennong’s medicine in the mountains, after taste of a poisonous grass, his mouth was dry and dizzy, so when he rested against the big tree, a breeze blew and the green leaves on the tree fell. Shennong took the green leaf home and carefully observed it, found its drinking and medicinal value, and planted it on the Kunlushan Mountain, thus leaving a large piece of ancient tea garden.
According to experts’ research, the Kunlushan Royal Ancient Tea Garden has been designated by the Qing government as a royal tea garden for more than 200 years (that is, the Qing Dynasty was seven years old in 1729). At that time, Yunnan Governor E’ertai established a tribute tea factory in Ninglang Town, Pu’er Prefecture. The best spring bud mountain tai girl tea was selected in the same year, and it was made into a brick and tea paste. The Pu’er tea was become the only tribute court tea product , the Pu’er tea in Yunnan was famouse in one night and it became the new darling of the tribute court tea products.
“Pu’er tea is famous all over the world, the taste is the most drunk, and it is especially heavy in Jingshi”, and there is also a court talk about “Summer Drinking Longjing, Winter Drinking Pu’er”.
At that time, every spring, the government sent troops to the mountains to supervise the picking and production of spring tea. All the pressed teas were delivered to the capital, and as the tribute to the court, and ordinary people simply could not drink the good spring tea here, and the Kunlushan large ancient tea garden became the royal royal tea garden.
The history of the Kunlushan ancient tea has always been secret, but it was only that Yunnan produced very few tribute teas, which could not meet the needs of the palace aristocracies, and could not enter the ordinary people’s family. Every year when spring tea is picked, it is the official government to send soldiers to guard the system. It is extremely confidential and naturally and it does not appear in historical records. Therefore, this mysterious ancient tea garden has also added a mysterious color to the world.
The transitional ancient teas in the ancient tea garden are mixed with large, medium and small leaf species, and the fragrance is unique. This tea can be called “Ya” in the three major tea areas of Yunnan. The tea is elegant, sharp, long-lasting and long. The entrance of the new tea is slightly bitter, and sweet, and then all are sweet. It is rich and thick, the throat is sweet and long-lasting, and the gas is uplifted and solid.
What to see in Kunlushan
Ancient tea in the village
In the Kunlushan, the ancient tea tree is planted in the front and back of people’s houses. It can be said that people are in tea and tea is in people. The ancient tea tree is inhabited by 13 families in the next generation. Only 372 ancient tea trees have been found around the houses where the 13 families live. The age of the trees is about several hundred years. In the village, the villagers have adopted the protection method of adopting old trees. The villagers living near the Kunlushan ancient tea garden who have adopted several ancient tea trees, ranging from 4 to more than 20 trees. They are engaged in farming work every day. Put some of your energy into ancient tea picking and simple management. And people think that“We take care of the ancient tea trees that we have adopted, and these trees are valuable things.”
Grabbed some ancient tea picked from a hundred-year-old tea tree and placed it in a clay pot in front of the fire pond. The amber tea was in the stone pottery. Local people usually drink tea every day. A day is only a cup of tea is baked in a clay pot. After drinking it, put the leftover tea on the fire and bake it again, then continue the water. The taste of repeated brewing tea is still very strong.
It is understood that these ancient tea trees are precious and precious. Ancient tree tea, which can produce 300-400 kilograms of dried hair tea per year, is very popular in the market.
How to Get to Kunlushan
First, people need to go to Ninger County.
1. By Air
There are no airports in Ninger County. Visitors can take a plane to Simao District, Puer, then take a long-distance bus to Ninger County.
2. By Train
Pu’er Railway Station is the middle station of the Yumo Railway under construction and an important station for the Laos section of the Trans-Asian Railway. It is expected to be put into use by 2020.
3. By Long-distance Bus
There is the Passenger Station in Ninger County forpeople to get in.
4.Ninger–Kunlushan
People can take taxi and rent the car to get to the Kunlushan Mountain.
Best time to visit
It is suitable to visit Ninger County all year round. Like many other cities in Yunnan, Ninger is a place where the seasons are like spring. There is no cold, no heat, warm and humid, especially suitable for human habitation, so you can go to Ninger at any time.
Recommend Tour
When you traveling Pu’er, Ninger County is a good place to be put on your list. It can be joined in whatever your Pu’er tour or Yunnan Tour.
11 Days Yunnan Ancient Tea-Horse Road Tour with Puer and XishuangBanna Tea Culture Exploration
14 Days Southwest Yunnan Tea Culture Tour from Xishuangbanna to Puer and Lincang
Where to Stay in Ninger County
Ninger County is a county under the jurisdiction of Pu’er City, Yunnan Province, China. There are many hotels around Ninger County. Yunnan Exploration will provide the best hotels for you. The recommended hotels are as follows:
1. Ninger Qingshuiwan Vocational Hotel (宁洱清水湾度假酒店）
Add: No.2 Tuanjie Road, Ninger Town, Ninger County
Tel: 0879-3012111
2. Ninger Gold Peacock Hotel (宁洱金孔雀大酒店)
Add: No.357 Dongshan Road, Ninger County
Tel: 0879-3323111
3. Mancheng Commercial Hotel (曼城商务酒店)
Addr: Puer Ancient Town, Tianbi Road, Ninger County
Tel: 0879-3334111
4. Ninger Budget Hotel (宁洱快捷酒店）
Add: In the Intersection of Longyuan Road and Binhe Road, Ninger County
Tel: 0879-3326666
5. Ninger Tongcheng Boutique Hotel(宁洱同城精品酒店)
Add: Tourist Center in Ninger Highway, Ninger County
Tel: 0879-3086688
6. Puer Shihong Hotel (宁洱实宏宾馆)
Add: Minzu Street, Ninger County
Tel: 0879-7227366
7. Chaxiang Inn (茶香客栈）
Add: Bo.76, Dongshan Rod of Ninger County
Tel: 0879-3232939
Travel Tips
1.There are many ethnic minorities living here, such as Lahu, Hani, Wa and Yi. Varied customs make it a colorful city. Eating habits, ceremonies, costumes and folk legends can all be a strong attraction for people who are visiting. In addition, the city is the hometown of the well known Puer Tea, and the local people have diversified ways of handling tea, such as bamboo tube tea, cold tea dish, earth-pot tea and baked tea; all of which you should try.
2.Enjoying a plateau monsoon climate at low latitude, the region is affected by the Indian Ocean and the Bay of Bengal. Therefore, the main features of its weather are mildness and humidity without strong winds.
3.Special Local Products: Puer Tea, bamboo shoot, edible fungi, purple rice, mango.
Lai Qingguo is recognized as a representative inheritor of the tinware production techniques—often known as the “Bansi” technique—in Gejiu City, Honghe Prefecture, Yunnan Province. His work in this traditional craft exemplifies the intricate skills and artistic expression that have been passed down through generations, serving as a vital link in preserving the region’s cultural heritage.
Key Aspects and Cultural Significance
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Exquisite Craftsmanship:
Lai Qingguo has mastered the specialized methods involved in the production of tinware using the Bansi technique. His work is characterized by detailed designs, precise workmanship, and a keen eye for aesthetics, which together produce tinware that is both functional and artistically distinctive. -
Cultural Heritage Preservation:
As an inheritor of this traditional craft, Lai plays a crucial role in maintaining and transmitting the unique skills of tinware making to future generations. His dedication ensures that the time-honored techniques and cultural stories embedded in the craft continue to be celebrated and preserved. -
Local and Cultural Impact:
Lai Qingguo’s contributions extend beyond mere craftsmanship. His work reinforces the cultural identity of Gejiu City and Honghe Prefecture by showcasing an art form that is integral to the region’s history. In doing so, he also promotes local tourism and supports the community by highlighting the value of traditional artisanal practices.
Through his expertise and commitment to the art of tinware making, Lai Qingguo not only preserves the ancient Bansi technique but also enriches the cultural landscape of Gejiu City. His efforts are instrumental in ensuring that this traditional craft remains a vibrant and recognized part of Honghe Prefecture’s heritage, inspiring both local pride and wider appreciation for Yunnan’s rich artisanal legacy.
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