Introduction to Quan Wankui

Quan Wankui (全万魁) is a Zhuang ethnic group (壮族) woodcarving artist from Nawei Village (纳尾村), Bangchang Village Office (蚌常村公所), Pingzhai Township (平寨乡), Qiubei County (丘北县), Wenshan Prefecture (文山州), Yunnan Province (云南省). He is a provincial-level inheritor of intangible cultural heritage, specializing in traditional furniture carving techniques using golden-thread betel wood (金丝黄榔木).

Personal Background

• Year of Birth: 1941
• Ethnicity: Zhuang (壮族)
• Hometown: Nawei Village (纳尾村), Bangchang Village Office (蚌常村公所), Pingzhai Township (平寨乡), Qiubei County (丘北县), Wenshan Prefecture (文山州), Yunnan Province (云南省)
• Early Experience: After graduating from junior high school, he engaged in farming and worked as a carpenter, gaining local fame before specializing in woodcarving techniques.

Inheritance of Skills and Achievements

Lineage of Learning

Quan Wankui’s (全万魁) carving skills mainly originate from studying the works of the late woodcarving artist Wang Xiaomao (王小貌) from the same village. Wang Xiaomao was highly skilled but passed away without taking on apprentices, leaving behind only a golden-thread betel wood (金丝黄榔木) ancestral altar.

Through studying Wang Xiaomao’s remaining work, Quan Wankui taught himself carving techniques, repeatedly practicing the blade techniques for petals and leaves’ yin and yang sides, eventually mastering the essence of golden-thread betel wood carving.

Artistic Characteristics

Quan Wankui excels at creating carved furniture from golden-thread betel wood (金丝黄榔木), known for its exquisite craftsmanship, practicality, and antique charm. His works are popular not only in Wenshan Prefecture (文山州) but also in nearby areas such as Honghe (红河) and Qujing (曲靖).

Contribution to Cultural Transmission

He has trained six apprentices and is committed to preserving this traditional craft from extinction.

Social Impact

Quan Wankui’s (全万魁) works hold significant artistic value and have contributed to the development of the local woodcarving industry. His craft has become one of the key examples of intangible cultural heritage preservation in Qiubei County (丘北县).

In recent years, Qiubei County (丘北县) has strengthened its efforts in intangible cultural heritage protection, with Quan Wankui’s craftsmanship recognized as an important component of the region’s ethnic culture.

Quan Wankui’s (全万魁) story reflects the perseverance and dedication of folk artists in preserving and passing down traditional craftsmanship. His golden-thread betel wood (金丝黄榔木) carving skills not only carry forward a nearly lost art but also contribute significantly to the development of the local cultural industry.

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Yang Jiali – Artisan of Zhizha Paper Art in Kaiyuan City, Honghe

Background and Artistic Journey

• Early Life: Yáng Jiālǐ was born in 1922 in Wǔmiào Street, Kāiyuǎn City. Due to poverty, he did not attend school and was illiterate. He began working as a helper at a young age.
• Learning Craft: While working for a family skilled in paper扎, Yáng Jiālǐ learned the craft through observation and practice. Impressed by his dedication and talent, the master eventually took him as an apprentice. After three years of training, he became independent and started his own practice.

Artistic Achievements

• Versatility: Yáng Jiālǐ is known for his versatility in creating paper扎 works for various occasions, including funerals, festivals, and celebrations. His works range from traditional paper figures to colorful lanterns, boats, and animals.
• Recognition: His contributions to the preservation and promotion of paper扎 art have earned him recognition as a provincial-level representative inheritor of intangible cultural heritage.

Heritage and Challenges

• Current Status: Due to his advanced age, Yáng Jiālǐ now focuses on simpler paper扎 projects. Unfortunately, his children are not interested in learning the craft, leaving him without direct heirs.
• Cultural Impact: Despite the challenges of modernization and changing cultural practices, Yáng Jiālǐ’s work continues to inspire appreciation for traditional paper扎 art.

Zhizha: Taoist paper art, is a type of traditional craft, mainly used as offerings in Taoist festive celebrations and funerals.

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Ang Junkui – Inheritor of Yi Folk Arts and Crafts in Mile County, Honghe

Personal Experience

• Early Life and Learning: Born in 1957, Ang Junku started learning to make traditional Yi ethnic musical instruments such as the big three-string, small three-string, three-stringed fiddle, and flute after graduating from middle school and working as a farmer. At the age of 25, he began studying under Yi ethnic teachers.
• Skill Development: In addition to mastering musical instrument making, Ang Junku also learned the craft of building traditional rural earthen structures and studied the art of making animal-shaped dough sculptures (e.g., lions, oxen, deer, elephants, and horses) used in Yi ethnic sacrificial rituals. His dedication and hard work quickly elevated his skills, earning him high regard among the local Yi community.
• Contributions to Tradition: Ang Junku has made hundreds of big three-string instruments for the local cultural center and produced various smaller musical instruments for his village. His expertise in animal dough sculptures and his ability to design over 20 traditional earthen houses for local farmers have made him a versatile and respected folk artist in the Yi community.

Craft Features

• Musical Instrument Making: Ang Junku’s craftsmanship in making musical instruments is exceptional. His instruments, such as the big three-string and small three-string, are not only of high sound quality but also beautifully crafted. These instruments play a vital role in local folk activities and contribute significantly to preserving Yi ethnic musical culture.
• Dough Sculpture Art: His dough sculptures are lifelike and artistically valuable, often used in Yi ethnic sacrificial rituals. These works reflect rich cultural significance and are an essential part of Yi traditions.

Legacy and Recognition

• Position as a Heritage Bearer: Ang Junku is a key inheritor of Yi ethnic folk crafts in Xisan Township, Mile County. His work has had a wide-reaching impact within the local Yi community, playing a critical role in preserving and promoting Yi folk traditions.
• Awards and Honors: In 2017, Ang Junku was recognized as a provincial-level representative inheritor of intangible cultural heritage in Honghe Prefecture, specializing in dough sculpture and traditional musical instrument making. This honor acknowledges both his skills and his contributions to the preservation of Yi ethnic crafts.

Current Status and Influence

• Continuing Legacy: Ang Junku actively engages in passing down his skills by teaching apprentices and participating in cultural activities. He strives to cultivate a new generation of Yi folk craftsmen, injecting fresh vitality into the preservation and development of Yi culture.
• Cultural Impact: His works and craftsmanship have not only gained recognition in Xisan Township but have also had a positive influence beyond the region. They showcase the unique charm of Yi folk crafts and play an important role in promoting and preserving the excellent traditional culture of the Yi people.

Bai Xiaobai – Master of Yi Embroidery and Paper-cut in Honghe County, Honghe

Personal Background

Craft Features

• Embroidery Skills: Her embroidery works are known for their unique design concepts, exquisite layout, and vibrant colors. They retain the traditional characteristics of the Yi Nisu people while incorporating innovative elements, making them widely popular.
• Paper-Cutting Skills: She can create vivid patterns of landscapes, flowers, birds, dragons, and phoenixes without pre-designed templates, showcasing her exceptional artistic talent.

Legacy and Contributions

• Skill Transmission: Bai Xiaobo actively organizes free embroidery training sessions to cultivate a new generation of embroiderers and encourages more young women to join the effort to preserve embroidery culture.
• Cooperative Development: In 2014, she initiated the establishment of Honghe County’s first hand-embroidery cooperative, adopting a “company + cooperative + embroiderers” business model. This initiative has enabled rural women to achieve flexible employment and has turned embroidery into a prosperous industry for local villagers.
• Cultural Promotion: She has introduced embroidery skills to schools multiple times, allowing teachers and students to experience the charm of Yi embroidery and paper-cutting. Through cultural exchange activities, she has also helped Yi embroidery reach broader markets.

Influence and Honors

• Bai Xiaobo has been named a provincial-level folk art craftsman and representative inheritor of intangible cultural heritage by the Yunnan Provincial Department of Culture and Tourism.
• Her works have been showcased and awarded at various provincial and prefectural cultural industry expos.
• Through six decades of dedication, she has revitalized Yi embroidery in the modern era, making significant contributions to rural revitalization and cultural preservation.

Personal Background

Craft Features

• Material Selection: Chen Shiming carefully selects bamboo that is three to five years old, as it has the optimal density, strength, and flexibility. The bamboo is harvested between winter and early spring to ensure quality.
• Bamboo Processing: He skillfully splits the bamboo into narrow strips, shaves off the outer green layer, and uses heat to shape the bamboo pieces to the required forms.
• Weaving Techniques: Using various techniques such as lifting, pressing, twisting, and interlocking, Chen Shiming weaves the bamboo strips into intricate patterns and diverse shapes.
• Finishing and Polishing: After weaving, he trims excess strips and polishes the piece with sandpaper or small tools to achieve a smooth, polished finish.

Weaving Techniques and Patterns

• Warp and Weft Technique: This foundational method weaves bamboo strips in a cross pattern, providing a base structure. Chen Shiming enhances this basic method by adding other techniques such as sparse weaving, locking, and lacing, creating complex and diverse patterns.
• Color Matching: For colorful creations, he uses dyed bamboo strips, interweaving them to produce vivid, striking designs.

Styles and Regional Characteristics

• Local Style: Chen Shiming’s works reflect the local characteristics of Jinsuihe Town, incorporating traditional patterns and modern elements to create unique bamboo products.

Legacy and Contributions

• Skill Transmission: Chen Shiming actively organizes training sessions to teach the younger generation bamboo-weaving skills, ensuring the continuation of this cultural heritage.
• Local Industry Development: He has played a key role in promoting the local bamboo-weaving industry, helping to create employment opportunities and increase the income of local residents.
• Cultural Promotion: Through participation in various exhibitions and cultural activities, Chen Shiming has increased the visibility of Jinsuihe Town’s bamboo-weaving craft, attracting more attention and support.

Influence and Honors

• Chen Shiming’s works have gained wide recognition and have been showcased at various cultural exhibitions and fairs.
• His dedication and contributions to the preservation and promotion of bamboo-weaving craft have earned him respect and honor within the local community and beyond.

Pu Qingying – Master of Yi Embroidery and Paper-cut in Gejiu City, Honghe 

个旧市大屯镇彝族刺绣、剪纸能手 – 普庆英

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Personal Background

Craft Features

• Material Selection: Yang Zhanben carefully selects high-quality wood, stone, bamboo, or tree roots as his materials. His works are known for their durability and fine texture.
• Techniques: He employs various carving techniques such as round carving, relief carving, and openwork carving to create intricate and detailed designs. His works often feature traditional patterns like “Dragon and Phoenix Presenting Auspiciousness” and “Magpies Contending for Plum Blossoms,” as well as his own creative designs.
• Artistic Style: Yang Zhanben’s woodcarving works are highly regarded for their lifelike appearance and unique style. His ability to blend artistry with practicality has made his works both aesthetically pleasing and functional.

Legacy and Contributions

• Skill Transmission: Yang Zhanben has been actively involved in passing down his woodcarving skills to the younger generation. He has trained his two sons, ensuring the continuation of this cultural heritage.
• Cultural Promotion: His works have gained widespread recognition and have been showcased at various exhibitions and cultural events. Through his art, he has helped to raise awareness of traditional woodcarving techniques and their cultural significance.
• Economic Impact: By selling his woodcarving works, Yang Zhanben has not only supported his family but has also contributed to the local economy. His efforts have inspired other community members to engage in this craft, creating additional income opportunities.

Influence and Honors

• Yang Zhanben’s dedication and exceptional skills have earned him numerous honors. In 1999, he was awarded the title of Yunnan Provincial Folk Artisan by the Yunnan Provincial Department of Culture.
• His works have been featured in various publications and exhibitions, further cementing his status as a respected figure in the realm of woodcarving arts.

Personal Background

Craft Features

• Material and Techniques: Yang Zhengfan excels in various classical painting techniques, including “堆金” (gold stacking) and “沥粉” (powder application), which involve creating three-dimensional patterns using paper pulp and mud. His works often feature intricate designs such as figures, flowers, birds, and landscapes.
• Artistic Style: His paintings are known for their vibrant colors, delicate brushwork, and a blend of traditional and innovative elements. His ability to integrate artistic beauty with practical functionality has made his works both visually stunning and culturally significant.

Legacy and Contributions

• Skill Transmission: Yang Zhengfan has actively passed down his painting skills to younger generations. He has taken on several apprentices, ensuring the continuation of this cultural heritage.
• Cultural Promotion: His works have been showcased in various exhibitions and cultural events, raising awareness of classical painting techniques and their cultural significance. Through his art, he has helped to preserve and promote the rich cultural traditions of Jianshui County.
• Economic and Social Impact: By selling his paintings, Yang Zhengfan has not only supported his family but also contributed to the local economy. His efforts have inspired other community members to engage in this craft, creating additional income opportunities and fostering a sense of pride in local cultural heritage.

Influence and Honors

• Yang Zhengfan’s dedication and exceptional skills have earned him numerous honors. His works have been featured in various publications and exhibitions, further cementing his status as a respected figure in the realm of classical painting arts.
• His contributions to the preservation and promotion of classical painting have been widely recognized, and he is considered one of the most influential artists in the region.

Personal Background

Craft Features

• Musical Instrument Making: Luo Zhibao is skilled in crafting traditional Yi musical instruments such as the sishen (four-stringed instrument) and lusheng (a type of reed pipe). His instruments are known for their unique tones and exquisite craftsmanship, reflecting the profound cultural heritage of the Yi people.
• Ceremonial Object Making: He is also proficient in creating ceremonial items used in Yi rituals, such as masks and paper crafts. These objects play a significant role in traditional Yi sacrificial ceremonies.

Cultural Contributions

• Skill Transmission: Luo Zhibao actively participates in the transmission of intangible cultural heritage. Through teaching and demonstrations, he has passed on the skills of making Yi musical instruments and ceremonial objects to younger generations, ensuring the continuation of these traditional crafts.
• Cultural Promotion: His works and craftsmanship have been showcased in various cultural activities, attracting more attention to Yi culture. Through initiatives like introducing intangible heritage into schools, he has further promoted the spread of Yi culture.

Influence and Honors

• Luo Zhibao’s skills and contributions have been widely recognized, and he is regarded as one of the key inheritors of Yi culture in Shaochong Township.
• His works and activities have not only enriched the local cultural life but have also made a positive contribution to the preservation and development of Yi culture.

Personal Background

Craft Features

• Paper-Cutting Skills: Pu Lixian is skilled in crafting traditional Yi paper-cutting works. Her works are known for their intricate designs and vibrant colors, reflecting the profound cultural heritage of the Yi people. The patterns and motifs used in her paper-cutting often draw inspiration from nature and daily life, creating pieces that are both beautiful and culturally significant.
• Embroidery Skills: She is also proficient in creating embroidery patterns. Her embroidery works are known for their delicate craftsmanship and artistic beauty, often used as decorative elements in traditional Yi clothing.

Cultural Contributions

• Skill Transmission: Pu Lixian actively participates in the transmission of intangible cultural heritage. Through teaching and demonstrations, she has passed on the skills of making Yi paper-cutting and embroidery to younger generations, ensuring the continuation of these traditional crafts.
• Cultural Promotion: Her works and craftsmanship have been showcased in various cultural activities, attracting more attention to Yi culture. Through initiatives like introducing intangible heritage into schools, she has further promoted the spread of Yi culture.

Influence and Honors

• Pu Lixian’s skills and contributions have been widely recognized, and she is regarded as one of the key inheritors of Yi culture in Shaochong Township.
• Her works and activities have not only enriched the local cultural life but have also made a positive contribution to the preservation and development of Yi culture.

Personal Background

Craft Features

• Material and Techniques: Luo Shaoxiang excels in various traditional woodcarving techniques, creating intricate and detailed designs. His works often feature religious and cultural motifs that are significant to the Buyi people.
• Artistic Style: His woodcarving works are known for their unique style and cultural significance, reflecting the profound heritage of the Buyi people.

Cultural Contributions

• Skill Transmission: Luo Shaoxiang actively participates in the transmission of intangible cultural heritage. Through teaching and demonstrations, he has passed on the skills of making Buyi religious woodcarving tools to younger generations, ensuring the continuation of these traditional crafts.
• Cultural Promotion: His works and craftsmanship have been showcased in various cultural activities, attracting more attention to Buyi culture. Through initiatives like introducing intangible heritage into schools, he has further promoted the spread of Buyi culture.

Influence and Honors

• Luo Shaoxiang’s skills and contributions have been widely recognized, and he is regarded as one of the key inheritors of Buyi culture in Qiaotou Township.
• His works and activities have not only enriched the local cultural life but have also made a positive contribution to the preservation and development of Buyi culture

Personal Profile

Zhao Qingli (赵清丽) is a native of Xingmeng Mongolian Township (兴蒙蒙古族乡) in Tonghai County (通海县), Yunnan Province. Since childhood, she has enjoyed exploring the history and culture of the Mongolian people in Yunnan alongside her elders, with a particular focus on the preservation and design of traditional Mongolian clothing.

Contribution to Cultural Heritage

Serving as a Cultural Promoter

In 2008, Zhao Qingli became a cultural promoter for Mongolian folk traditions in Xingmeng Mongolian Township (兴蒙蒙古族乡), showcasing traditional clothing-making techniques.

Organizing a Model Team

In 2011, she independently organized a team of local villagers into a Mongolian costume modeling troupe and registered the company Tonghai Kazhuo Mongolian Cultural Tourism Service Co., Ltd. (通海喀卓蒙古族文化旅游服务有限公司).

Participating in Art Festivals

Since 2017, Zhao’s modeling team has participated for four consecutive years in the 14th, 15th, 16th, and 17th Mongolian Costume Art Festivals held in Inner Mongolia (内蒙古). Their performances received high praise from experts and judges, earning bronze medals in Traditional Mongolian Costume Design, Traditional Mongolian Costume Finals, and the Traditional Group of the Mongolian Costume Contest Finals.

Engaging in Academic Seminars

In 2017, Zhao was invited to participate in the Seminar on the Integration of Mongolian Costume Culture and Tourism Development and shared insights about the heritage and development of Yunnan Mongolian history, culture, and traditional costumes during a “sofa forum” session.

Cultural Promotion

Media Coverage

Her work has been documented by Hong Kong Phoenix Television and Inner Mongolia Radio and Television’s Mongolian-language program Suo Yi Le (《索艺乐》), focusing on the Mongolian costumes of Yunnan.

Cultural Exchange Activities

In November 2020, after completing events for the 17th Mongolian Costume Art Festival in Inner Mongolia, Zhao led her farmer-model team to Xilingol League (锡林郭勒盟) and Hohhot City (呼和浩特市) for a series of cultural tourism exchange activities.

Commitment to Heritage

Zhao Qingli is determined to promote costume culture through the integration of culture and tourism. She actively works to sustain and innovate the Mongolian costume industry. She even participated in performances while caring for her 10-month-old grandson, aiming to protect cultural heritage and highlight the cultural confidence of the Chinese nation.

Through her dedication, Zhao has not only preserved the traditional costume-making craft of Xingmeng Township (兴蒙乡) but also contributed significantly to the promotion of Mongolian culture.

Unique Features of Mongolian Costumes in Xingmeng Township

Clothing Styles

“Three-layered Water” Costume

This distinctive costume consists of three garments: a close-fitting inner shirt, a collarless front-opening robe, and a short vest. This layered structure combines the characteristics of the northern Mongolian robe with adaptations for local lifestyle needs. The overall effect is vibrant and richly textured.

Men’s Costume

Men’s attire is similar to that of Inner Mongolia, traditionally consisting of a long robe with a belt. After the founding of the People’s Republic of China, men’s clothing transitioned to front-opening jackets with fabric buttons, typically in black, gray, or dark blue.

Children’s Costume

Children wear a type of hat called Heleduo Hat (贺乐多帽), made mainly from black fabric embroidered with traditional Mongolian patterns. The front features a silver Buddha image, with silver ornaments on both sides depicting the Yunnan Mongolian legend Fish Lifting Temple (鱼抬寺). A fish-tail sunshade hangs from the back, and tiger-shaped ears with silver ornaments hang from both sides. The hat is reversible and suitable for all seasons.

Headwear Styles

Young Girls’ Headwear

Girls wear a black phoenix crown (凤冠帽), with hair braided into two strands that wrap around the crown from the back of the head to the forehead and back again. The braids are tied with red thread at the end, with red tassels called Xinrui (新蕊) hanging from the hat’s tail.

Married Women’s Headwear

Married women do not wear the phoenix crown. Instead, they wrap a 1.6-meter-long black cloth, folded to 5 cm width, around their heads—this is called Congwusi (聪兀丝). Braids are wrapped around the outside of the cloth.

Elderly Women’s Headwear

Older women wrap their hair in a bun at the top of the head, secured with a black headscarf. Only Mongolian women wear the “heavenward bun” (顶朝天), symbolizing uprightness. Elderly women wear the “high temples” (梳高鬓) style.

Colors and Patterns

Vibrant Colors

Mongolian women in Xingmeng typically wear high-saturation, brightly colored garments, creating a striking visual impression.

Exquisite Patterns

Collars and cuffs are often embroidered with intricate and colorful patterns, preserving elements of northern Mongolian styles, such as high collars, curved edges, and ornate cuffs. Common motifs include lotuses, galloping horses, and golden phoenixes—symbols of prosperity, nature worship, and traditional Mongolian aesthetics.

Accessory Matching

Silver Accessories

The “Three-layered Water” costume features a row of small silver round buttons on the left front and silver patterned buttons on the right. Decorative silver plaques (silver flower plates) serve as button covers, typically 8 cm in diameter and shaped like realistic flowers.

Embroidered Shoes

Middle-aged and elderly women wear embroidered shoes decorated with grassland flower patterns, symbolizing a connection to the grassland and blessings for favorable weather.

Symbolic Meanings of Costume Colors in Xingmeng Mongolian Attire

White

Symbolism: White has long been revered by the Mongolian people as a sacred color, representing purity and nobility. This stems from the Shamanistic belief system, which regards white as sacred and uses it as a religious symbol.
Application: White is commonly used for inner shirts with high collars and floral trims, giving a clean and solemn appearance.

Blue

Symbolism: Blue symbolizes nature, landscapes, eternity, loyalty, prosperity, and grandeur. The Mongolian reverence for blue originates from their worship of the blue sky.
Application: Blue is often used in the second inner robe or the vest, reflecting respect for nature and enhancing visual appeal.

Red

Symbolism: Red symbolizes fire and the sun, representing prosperity and happiness. It is linked to traditional Mongolian fire and sun worship, as well as the reverence for blood.
Application: Red is widely used in the fabric of the second inner robe, such as bright red velvet, adding vibrancy and energy to the costume.

Yellow

Symbolism: Yellow represents authority, honor, spirit, and power, often associated with supreme imperial power. Its significance stems from Shamanism and sun worship.
Application: While rarely used for entire garments, yellow appears in decorative elements like silver plaques and buttons, enhancing the overall elegance.

Black

Symbolism: Black represents strength, solidity, and solemnity but is also associated with darkness. Thus, pure black robes are uncommon; instead, black is used as a contrasting trim to highlight other colors.
Application: Black is commonly used for vest trims and as a background for accessories like silver coins and plaques, showcasing sophisticated color matching while honoring traditional symbolism.

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• Honghe
• Inheritors of Intangible Cultural Heritage in Honghe

Zhao Qingli – Inheritor of Mongolian Ethnic Costume-making Skill in Xingmeng County, Yuxi 

Personal Profile Zhao Qingli (赵清丽) is a native of Xingmeng Mongolian Township (兴蒙蒙古族乡) in Tonghai County (通海县), Yunnan Province. Since childhood, she has enjoyed exploring the history and culture...

Culture    Veiw

• Inheritors of Intangible Cultural Heritage in Yuxi
• Mongolian Ethnic Minority
• Tonghai County
• Yuxi