Early Life and Interest in Yi Folk Art
Wang Youcai (王财友), born in 1958, is a native of Muduo Village (木多村), Awang Township (阿旺乡), in Dongchuan District (东川区), Kunming, Yunnan. He is a skilled artisan and a respected inheritor of the traditional craftsmanship of Yi ethnic minority (彝族) folk musical instruments and other cultural artifacts. Growing up with an interest in music, Wang was motivated by the decline of local Yi craftsmanship, particularly the loss of traditional musical instrument-making knowledge.
Mastery in Yi Folk Musical Instrument Craftsmanship
In 1974, Wang Youcai began dedicating himself to the study and reproduction of Yi folk musical instruments, tools, and women’s headdresses. Largely self-taught, Wang learned traditional Yi techniques from local elders and through hands-on practice. Over the years, his craftsmanship expanded to include a variety of Yi ethnic instruments, including:
- Lusheng (芦笙) – a traditional bamboo pipe instrument
- Suona (唢呐) – a wind instrument with a distinct, high-pitched sound
- Kouxian (口弦) – a mouth harp
- Textile tools, such as weaving looms and spinning wheels
- Waist mats (腰毡) – a traditional accessory used by Yi women
Wang’s work is admired for its authenticity and precision, as he revives and preserves techniques that were at risk of being lost. His instruments are not only functional but also carry cultural significance, reflecting the rich heritage of the Yi people.
Legacy and Cultural Contribution
Wang Youcai’s dedication to the preservation of Yi folk craftsmanship has made him a key figure in the cultural life of Dongchuan District. His work helps maintain the traditions of the Yi people, not only by producing high-quality musical instruments but also by passing his skills down to the next generation.
His contributions have gained recognition within the local community, where his instruments are used in traditional ceremonies, festivals, and performances. Wang continues to research, create, and share his expertise, ensuring the survival of Yi folk art for future generations.
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Tan Jicheng （谭继成） is an inheritor of enamel silverware craftsmanship in Jin Guan Town (金官镇), Yong Sheng County (永胜县), which is located in Lijiang City (丽江市) and is an important heritage site for this traditional craft. Growing up in a family of silversmiths, Tan Jicheng developed a strong interest in enamel silverware production. He learned this traditional skill from his elders and gradually mastered the entire process, from design and blank making to filigree, enamel application, firing, and more.
Enamel Silverware Craftsmanship and Inheritance
The enamel silverware craftsmanship was introduced to Yong Sheng during the Yuan Dynasty and later spread among the local people. To date, only the Tan family in San Chuan Town (三川镇) and the Tang family in Yongbei Town (永北镇) of Yong Sheng County continue to inherit and practice this traditional skill. The production of enamel silverware involves mixing and grinding quartz, marble, borax, and chlorides into a powder, melting them according to different material crystals, and coloring the enamel glaze with the unique colors of metal ions. The decorative patterns on the works are mostly auspicious patterns from Han Chinese folk culture. The shapes are practical and aesthetically pleasing, with exquisite craftsmanship, vivid and unique patterns, bright and lustrous colors, and a color scheme dominated by cobalt blue and cinnabar, complemented by appropriate amounts of yellow, green, white, and ochre. The entire process is divided into six steps: blank making, filigree, enamel application, firing, inspection, and packaging.
Tan Jicheng’s enamel silverware craftsmanship is exquisite, and his works showcase the traditional artistic style and profound cultural connotations of the Naxi people. His works cover a wide range of subjects, including traditional religious items such as incense burners and ritual instruments, as well as ornaments and decorations reflecting Naxi folk culture. Building on traditional techniques, Tan Jicheng continuously innovates by combining modern design concepts with traditional craftsmanship, infusing new vitality into the ancient enamel silverware. In 2021, the Yong Sheng Enamel Silverware Craftsmanship (Silver-based Cloisonné Craftsmanship) was listed in the national intangible cultural heritage representative project catalog.
Cultural Contributions
As an inheritor of enamel silverware craftsmanship, Tan Jicheng is not only dedicated to creation but also actively cultivates the younger generation of enamel silverware enthusiasts. He holds enamel silverware workshops and training classes to pass on the skills to more people, making significant contributions to the inheritance and development of this traditional art. His efforts have revitalized enamel silverware in Yong Sheng County and injected new energy into the transmission and development of traditional Chinese culture.
Enamel silverware shares deep historical roots with Beijing cloisonné and has rich historical and cultural connotations. It is a testament to the fusion of Western decorative styles and southwestern ethnic cultures. Driven by his passion and dedication to enamel silverware production, Tan Jicheng continues to move forward on the path of inheritance and innovation, becoming an outstanding representative of enamel silverware craftsmanship in Jin Guan Town, Yong Sheng County.
http://www.ynich.cn/view-ml-13111-2529.html
Early Life and Interest in Folk Art
Gao Huairu (高怀汝), born in 1923, hails from Baima Road Village (白马路村), Dayu Township (大渔乡), Chenggong District (呈贡县), Kunming, Yunnan. He is a respected inheritor of the folk art of Shengxianhua (圣贤画), or paintings of Chinese sages and deities. These paintings feature a variety of revered figures, including Guanyin (观音), Guan Gong (关公), and sages from Buddhism, Taoism, and Confucianism. Traditionally, these works are hung in the central hall of a home to ensure peace, safety, and purity for the household. Before being displayed, the paintings are often “consecrated” or “opened” (开光) to ensure their effectiveness in bringing blessings.
From a young age, Gao was drawn to the folk arts of his village, particularly the Shengxianhua and Jiama Paper (甲马纸), traditional paper used in religious rituals. His curiosity and interest led him to self-study the techniques of these folk arts, dedicating himself to mastering the craft of painting sages and deities.
Mastery and Influence in Shengxianhua Painting
Through diligent study, Gao Huairu developed his own unique style of Shengxianhua. His works are known for their meticulous composition, proper balance of elements, accurate proportions, and expressive faces. His paintings portray gods and sages in a vivid and realistic manner, capturing the essence of their power and grace. Gao’s ability to adapt traditional themes while incorporating modern techniques, influenced by his background as a former elementary school teacher, has greatly contributed to the distinctiveness and popularity of his art.
His paintings are not only revered for their artistic value but also for their deep connection to local customs and traditions. Gao’s profound understanding of Jiama Paper and the local cultural heritage has made him a key figure in preserving and promoting the folk arts of Chenggong.
Legacy and Continued Influence
Gao Huairu’s works have had a lasting impact in the Chenggong region, where his Shengxianhua paintings are still widely used to decorate homes and temples. His contributions to local folk art have cemented his reputation as one of the prominent inheritors of this tradition. Gao continues to share his knowledge with younger generations, ensuring that the art of Shengxianhua and its associated customs remain alive for future generations.
Early Life and Interest in Jiama Paper
Guo Shumo (郭树漠), born in 1925, is a renowned craftsman from Wulong Subdistrict (乌龙办事处), Longjie Township (龙街乡), Chenggong District (呈贡县), Kunming, Yunnan. He is an expert in the traditional craft of Jiama Paper (甲马纸), a form of paper used in sacrificial ceremonies and religious rituals among the Bai ethnic minority and other Yunnan communities. Jiama Paper, measuring approximately 20cm x 30cm, is typically printed with images of deities and spiritual symbols, often used for rituals aimed at warding off evil and seeking divine blessings.
Guo’s passion for Jiama Paper began in his youth. He was fascinated by the art of carving Jiama Paper woodcut plates and began learning the craft on his own. Over the years, he mastered the technique of carving Jiama boards, evolving the traditional designs and improving upon the crude, rough styles that were prevalent at the time.
Mastery and Innovation in Jiama Paper Carving
As he honed his skills, Guo Shumo applied his creativity to improve the precision and beauty of Jiama Paper designs. His carvings were more detailed, with smoother lines and more lifelike representations of the deities. The images he created were clear, elegant, and accurately represented the traditional motifs, making them highly sought after in the Chenggong and Longjie areas. Throughout his career, Guo carved several hundred Jiama boards, and his works gained widespread recognition in the local community.
In addition to his work with Jiama Paper, Guo is also skilled in crafting intricate paper and bamboo decorations for other ceremonial purposes, such as dragon-shaped ornaments. His ability to work in various media, including paper-cutting and bamboo weaving, has earned him a reputation as a versatile and talented folk artist.
Legacy and Recognition
Guo Shumo’s Jiama Paper carvings remain popular in Chenggong and the surrounding areas, where his works are used in both religious rituals and as decorative items. His innovations in the art of Jiama Paper carving have helped preserve this important folk craft, ensuring its continued existence for future generations.
Wan Shuqing (万树青), born in 1930, is a native of Xincao Fang Village (新草房村), Longjie Subdistrict (龙街办事处), Longcheng Town (龙城镇), Chenggong District (呈贡县), Kunming (昆明). Originally from Waya Village (瓦窑村) in Yuxi (玉溪), Wan moved to Chenggong after serving in the military and apprenticed with his father in pottery-making.
Mastering the Craft of Wamao (Tile Cat)
For over 40 years, Wan has specialized in pottery-making, with a particular focus on crafting Wamao (瓦猫)—whimsical tile cats placed on the roofs of Naxi houses to protect the home and draw in good fortune. Wan is known as the earliest practitioner in Chenggong to make Wamao, and his unique tile cats have become highly popular both locally and among scholars, artists, and collectors.
Notable Achievements
Wan’s tile cats have been admired by many and were featured in the 1st China Art Festival (1987), where his creations were part of the Yunnan Ethnic and Folk Arts Exhibition in Beijing. His Wamao became well-known for its artistic appeal and cultural significance.
Family Tradition
Wan’s Wamao-making craft has been passed down to his son, Wan Ronghua (万荣华), who now continues the tradition. The Wamao, placed on the roof ridges of local homes, serves as a guardian spirit and symbol of prosperity. This practice is widespread in many parts of Yunnan (云南).
For more details, please visit the original source: Yunnan Cultural Heritage.
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曲靖市民间剪纸技艺传承人 – 张月仙
http://www.ynich.cn/view-ml-13111-2535.html
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http://www.ynich.cn/view-ml-13111-2536.html
Duan Jichang (段继昌) – Master of Folk Clay Sculpture in Jin Cheng Town, Jingning District
Duan Jichang (段继昌), born in 1965, hails from Ximen Subdistrict (西门办事处), Panchi Street (泮池街), Jin Cheng Town (晋城镇), Jingning District (晋宁县), Kunming (昆明).
Early Passion and Mastery of Multiple Art Forms
From a young age, Duan developed a love for painting and sculpture. Through persistent hard work and continuous practice, he mastered various artistic techniques, including painting, wood carving, stone engraving, clay sculpture, and jade carving.
Prolific Body of Work
To date, Duan has created over 3,000 works, including:
- 500+ wood carvings
- 600+ paintings
- 700+ stone engravings
- 50+ jade carvings
- Nearly 1,000 clay sculptures
Notable Works and Achievements
Some of Duan’s most notable clay sculptures include:
- “Ji Gong” (济公) at Panlong Temple (盘龙寺) in his hometown.
- “Five White Arhats” (五白罗汉) at Puzhao Temple (普昭寺).
- “Jade Emperor” (玉皇大帝) at Yuhuang Pavilion (玉皇阁).
In addition to his clay sculptures, his wood carving masterpiece, “Zheng He’s Ship”, is displayed in the Zheng He Park exhibition hall. Another iconic work, “Statue of Zheng He”, was recommended by the Yunnan Academy of Social Sciences to be part of the Malaysian Zheng He Commemoration Exhibition in 1997.
For more details, please visit the original source: Yunnan Cultural Heritage.
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