Chinese Name: 德宏傣族景颇族自治州景颇族创世史诗《目瑙斋瓦》
English Name: “Munao Zaiwa” – Epic of Jingpo Ethnic Minority in Dehong

Munao Zaiwa (目瑙斋瓦) is a World-originate Epic of Jingpo ethnic minority, which passed on by word of mouth. It belongs to the word of mouth carrier ancient books divided by carrier. Munao Zaiwa was formed of seven chapters including song, the formation of heaven and earth, heaven and earth with smooth, heaven, floods, Ning Guandu（宁贯杜） and his wedding, the origin of munao (目瑙) and life on the earth. Thousands of lines of the poem converged into a song which shows scenes of life from the Pan Gu(盘古)epoch-making myth to making fire, collecting water, sharpening knives and clay pot making. Jingpo ancestors interpreted the origin of the universe with peculiar imagination , and recorded ancient times in the form of oral chanting

“In ancient times,
there are no the sky and the land. “
This is the first line of Munao Zaiwa(目瑙斋瓦). This sentence is a question about the formation of heaven and earth and also a earliest puzzle of mankind. When did the flat dams, the high mountains, the sky with sunrise and sunset come into being? That’s a great question which is mysterious, unsolved, and unsettling. There were wise men in every group who invented myths to make people believe that there was an omnipotent thing called god. It was god who created heaven and earth, man and all things.Mao Dun(茅盾) believed that the existence of mythology was to answer questions such as how the universe began and where humans came from.

In Munao Zaiwa , heaven and earth are originally “hazy and chaotic”, which coincides with the Pangu myth. The difference is that Pan gu(盘古)split the chaos，held up the sky with his hands and stept out of the earth with his feet. However, it was a husband and wife , the male is Neng Wanla(能万拉), the female is Nengban Muzhan(能斑木占) that split the sky and the earth. Their descendants were Penggan Zhilun（彭干支伦） and Muzhan Weichun(木占威纯). They continued the creation and reproduction as their ancestors did. In the sixth section of chapter I, The Creation and Reproduction of Penggan Zhilun（彭干支伦） and Muzhan Weichun(木占威纯) , they gave birth to cyclone, breeze, fog and dew. Even natural phenomena were born of the god. What a wonderful imagination!

Birds and clouds, rain and snow, frost and fog, beasts and fish, flowers and trees… The existence of the world creation, from have its truth in Munao Zaiwa. This simple and natural thought has the meaning of ecological balance and harmonious coexistence with nature , which exists in the ancient poems passed on by word of mouth.But some people still do not understand it. The destruction to ecological environment and animals torture often make headlines. Isn’t mankind afraid to return to the beginning of the cold and lonely world in myth?

In the second section of chapter II, Trung Thule seeds sang that Trung Thule (特荣特热拉撒树种)took seeds of trees and grass from Songjiong La(松炯拉), the father god of trees, and Songjiong Muzhan(松炯木占), the mother god of trees,and scattered them everywhere. This story reflects the beginning of Jingpo ancestors’ transformation of nature and artificial cultivation. In the section thirteen of chapter I , the creation and reproduction of Yin Zhila（尹知拉）and Yin Nuanmuzhan（尹暖木占）(尹知拉和尹暖木占的创造繁衍), human beings appeared. The gods began to make man after they made heaven and earth.

In the first section of chapter III, Ning guandu trigger flood (发洪水) tells a story about internal strife. Ning guandu(宁贯杜) was the hero of the jingp, gained the support of the people and became the first generation official of the jingpo clan. All the people had to hand in meat and grain and worked for him for free. This caused his nine nephew’s jealousy and they planned to kill Ning Guandu(宁贯杜). Ning guandu(宁贯杜) in order to punish them triggered a great flood which submerged the earth all things. This is a struggle of the upper ruling class, which also implies that human beings will be punished if they ignore the laws of nature.

Munao Zaiwa is voluminous. With the combination of Yin and Yang(阴阳), the male and female gods created everything one after another. It solves the major problems such as the formation of heaven and earth, the birth of human beings, and the origin of all things. Meanwhile, it also records the process of understanding and transformation of nature. The wisdom of human cannot be ignored. In the last chapter, life on the earth (大地上的生活) tells us that the ancestos of Jingpo constantly summarized their experiences in life and production and learned how to make fire, collect water, sharpen knives, make pottery pots, build houses, spin and weave… It also formed the custom of marriage.

There is A new day, a new earth. There were crows, eagles and hornbills flying in the sky; tigers, leopards, elephants and monkeys were running on the ground; snakes, crickets and ants were crawling in the grass, insects, frogs and pangolins were living in the soil. Nature is fertile and beautiful in Munao Zaiwa. The bamboo houses were on the hillside, the long knives on the anvil, the colorful skirts were on the loom… The earthly days are also full of poetical sensation in Munao Zaiwa.

Munao Zaiwa has two versions of Jingpo language and Chinese and I do not know Jingpo language. What I have read is the Chinese version arranged and translated by Li Xiangqian(李向前), a famous scholar of Jingpo nationality. Munao Zaiwa is a world created by the gods, the world is noisy but peaceful and the book is with a natural grace.
Translated by Wang Xuanjun/王炫匀

Of all the types of tea you can find in the world, Pu-erh is among the most mysterious. While other types of tea are categorized by their level of oxidation, Pu-erh represents a category of fully-oxidized tea, fermented and ripened by time. Highly prized and produced in the region of Yunnan in southern China, Pu-erh offers a smooth and complex earthy flavor unlike any other tea, with an enticingly deep cup color.

Pu-erh offers a truly unique tea experience, available in both ripe and raw selections.The Pu-erh found more commonly are ripe Pu-erhs, also known as Shu Cha Pu-erh, aged and fermented over time. You will not find another tea that is as dark and full, complex and hearty with smooth elegance. In contrast to this intense flavor is the light and silky raw Pu-erh with a subtly sweet finish, only offered in cakes.

HOW TO BREW PU-ERH CAKES

RIPE CAKES

Ripe Pu-erh cakes indicate that the leaves have been aged, just as our loose leaf pu-erh and sachet offerings. To brew the ripe Pu-erh cakes, dislodge about one teaspoon of tea leaves and follow the instructions below.

1. 1. Bring fresh, filtered water to a boil (212℉).
   2. Optional: Preheat your cup with boiling water, then discard the water. You can do this by pouring water into a teapot, and then pouring water from the teapot into your cups.
   3. Place your leaves in the teapot and pour 8-10 ounces of water directly over the leaves.
   4. Allow the leaves to steep for 5 minutes. Feel free to use our timer.
   5. After 5 minutes, place a basket strainer over your cup and pour the tea so that any leaves will be caught by the strainer.
   6. Serve the contents of the teapot and enjoy. Note: do not allow the tea leaves in your teapot continue to steep.*

*If you’d like to sip and enjoy a leisurely pot, you will want to use a strainer inside of your teapot rather than strain the leaves while you are pouring. That way, the leaves will not be left in the pot to continue steeping. Simply find a strainer that can rest inside of your teapot like this one, steep the leaves inside the strainer, then remove the strainer after 5 minutes.

RAW CAKES

Delicate and smooth, raw Pu-erh should be treated like a green or white tea when brewed, so use lower temperature water and a shorter steep time to prevent the tea from becoming coarse and sharp. To brew, bring fresh, filtered water to about 190℉, dislodge 1 teaspoon of the Pu-erh cake and steep for 3 minutes. Discard the leaves and enjoy.

HOW TO BREW PU-ERH SACHETS

1. 1. 1. Bring fresh, filtered water to a boil (212℉).
      2. Optional: Preheat your cup with boiling water, then discard the water.
      3. Place the sachet in your chosen vessel, whether it is a teapot or a teacup. Pour about 8 ounces of hot water over the sachet.
      4. Allow the tea to steep for 5 minutes. Feel free to use our timer.
      5. After 5 minutes, remove the sachet and enjoy.

HOW TO BREW LOOSE LEAF PU-ERH

1. 1. 1. Bring fresh, filtered water to a boil (212℉).
      2. Optional: Preheat your cup with boiling water, then discard the water. You can do this by pouring water into a teapot, and then pouring water from the teapot into your cups.
      3. Measure your tea leaves. We recommend using about 1 teaspoon (3 grams) of loose leaf tea for every 8-10 ounces of water.
      4. Place your leaves in the teapot and pour 8-10 ounces of water directly over the leaves.
      5. Allow the leaves to steep for 5 minutes. Feel free to use our timer.
      6. After 5 minutes, place a basket strainer over your cup and pour the tea so that any leaves will be caught by the strainer.
      7. Serve the contents of the teapot and enjoy. Note: do not allow the tea leaves in your teapot continue to steep.*

*If you’d like to sip and enjoy a leisurely pot, you will want to use a strainer inside of your teapot rather than strain the leaves while you are pouring. That way, the leaves will not be left in the pot to continue steeping. Simply find a strainer that can rest inside of your teapot like this one, steep the leaves inside the strainer, then remove the strainer after 5 minutes.

GAIWAN STYLE BREWING

A Gaiwanor Gong Fu style steeping can be an excellent way to explore the flavor of this particular type of tea. Brewing loose leaf or pieces of a Pu-erh cake in a gaiwan over multiple steepings allows you to experience the flavor at different stages in the extraction process. Starting with a light flavor and cup color, then developing into a dark and rich experience, watch how the tea evolves and until it reaches its full extraction.

1. 1. 1. Bring fresh, filtered water to a boil about 212℉.
      2. Place 1 tablespoon of loose leaf Pu-erh or Pu-erh cake directly into your gaiwan.
      3. Fill the gaiwan with hot water, allowing the leaves to sit for no more than 5 seconds, then discard the water. We refer to this first steeping as the rinse. This removes unwanted smaller leaf particles and facilitates further extraction in later steeps.
      4. Once again, fill the gaiwan with 212℉ water, pouring directly over the leaves. Wait approximately 10-20 seconds, then pour the tea through a strainer into the glass pot. Next, pour tea into the tea cups from the glass pot. This will ensure that each individual is experiencing the same flavor in each pour.
      5. Continue steeps as many times as you like, adding 5-10 seconds to each. As time passes, look to see the evolution of the leaf and the deepening of the liquor color.  Most importantly pay attention to the changing flavor with each steep.  Once the strength of the tea no longer comes through, the leaves have been fully extracted.

Chinese Name: 西双版纳傣族叙事长诗《召树屯与喃木诺娜》
English Name: Zhaoshutun and Nanmunuona – A Narrative Poem of the Dai Ethnic Minority in Xishuangbanna

Overview

Zhaoshutun and Nanmunuona is a long narrative poem centered around a love story. It tells the tale of Zhaoshutun (召树屯), a prince from the Kingdom of Mengbanjia (勐板加国), and Nanmunuona (喃木诺娜), a princess from the Peacock Kingdom of Mengdongban (勐董板孔雀国). The two meet by the Golden Lake (金湖), fall in love, but their happiness is shattered by war. Despite the trials and tribulations, the prince endures hardships and ultimately rekindles their love.

Summary of the Poem

According to legend, in the ancient Kingdom of Mengbanjia, there was a handsome and brave prince named Zhaoshutun (召树屯). After reaching adulthood, he defied his father’s arranged marriage and set out on a journey to find his ideal companion. One day, as he arrived at the scenic Golden Lake (金湖), he encountered seven princesses from the Peacock Kingdom, who had come to bathe. The youngest, Nanmunuona (喃木诺娜), was particularly beautiful and noble, capturing the prince’s heart.

When Zhaoshutun despaired over his unspoken feelings, a divine dragon in the lake revealed the secret to keeping the youngest princess. Taking this advice, Zhaoshutun hid the princess’s peacock feathers while she bathed, preventing her from flying back to her kingdom. Their eyes met, and a spark of love was ignited.

The seven peacock princesses regularly flew to the picturesque Golden Lake to bathe. On one such occasion, as they played in the water, the handsome Prince Zhaoshutun led his entourage into the forest for a hunt. The beauty of the seven princesses, especially the youngest, Nanmunuona, mesmerized the prince, and he immediately fell in love. Just as he was about to serenade her with a love song, the princesses donned their peacock feathers and flew away, leaving the prince in a daze.

At this moment, the divine dragon revealed the secret to keeping Nanmunuona. The next time the princesses came to the lake, Zhaoshutun hid Nanmunuona’s peacock feathers, preventing her from returning to the Peacock Kingdom. He then professed his love to the princess. Impressed by the prince’s handsome appearance and noble demeanor, Nanmunuona fell in love with Zhaoshutun as well.

With the blessings of the people of Mengbanjia, the couple held their wedding. However, their happiness was short-lived as war erupted at the borders. To protect his country, Zhaoshutun led his soldiers to the front lines. Upon his triumphant return, he learned that his wife, Nanmunuona, had been deceived by treacherous ministers and had flown back to the Peacock Kingdom. Heartbroken, Zhaoshutun defied his father’s objections and embarked on a journey to find his princess. After 999 days of searching, with the help of a divine monkey and the divine dragon, he finally reached the Peacock Kingdom and reunited with his beloved princess.

Due to Zhaoshutun’s wise governance, Mengbanjia enjoyed prosperity, with favorable weather and abundant harvests year after year. The people believed that the beautiful and kind Peacock Princess had brought them good fortune. From then on, the Dai people held the peacock in even higher regard, worshipping it as a symbol of happiness and good luck.

Forms of the Poem’s Transmission

The narrative poem Zhaoshutun is widely spread across Dai communities, existing in both oral and written forms. The oral poetic form is predominantly found in Dai areas such as Yuanjiang (元江), Jinping (金平), and Xinping (新平), where Buddhism had not yet taken root. Written versions in Dai script are mainly circulated in Buddhist-influenced areas like Xishuangbanna (西双版纳), Dehong (德宏), Menglian (孟连), and Jinggu (景谷). Both forms share the same core content, though with some variations in detail.

In regions like Yuanjiang, Jinping, and Xinping, where there are no Buddhist temples or Buddhist scriptures, the oral rendition of the “Peacock Princess” lacks traces of adaptation from Buddhist Jataka tales. This suggests that the story might have evolved from ancient myths. In contrast, the Dai-script manuscripts from areas like Xishuangbanna are likely derived from the Jataka story of Suvannasama, which was later reinterpreted. Exploring further reveals that the bird-goddess tale in Buddhist literature likely originates from even older folk legends.

Thus, another conclusion can be drawn: the original prototype of the Zhaoshutun narrative comes from ancient bird-goddess myths. As ancient southern China and the Southeast Asian region shared a common cultural zone, this story was likely a shared spiritual creation of the ancestors in that cultural region.

Historical Origins

The poem is not only artistically mature but also ideologically healthy. Its growing influence has sparked various debates regarding its origins. Different academic schools propose diverse views:

• External Origin Theory: Suggests that the story’s prototype originated from ancient Indian Sanskrit literature, spread through Southeast Asia, and was later introduced to the Dai regions in China via Buddhism.
• Central Plains Theory: Argues that the story’s prototype stems from the bird-goddess myth prevalent among many ethnic groups in China.
• Indigenous Origin Theory: Proposes that it emerged from ancient Dai bird mythology, dating back to the early primitive society, when the Dai ancestors revered bird totems and created myths about “bird-headed women” and marriages between birds and humans. This served as the original model for the peacock fairy marrying a human.

Scholars suggest that in examining the origins of Zhaoshutun, two key questions must be addressed:

1. Was the migration of northern tribes to the south the first to occur, or did the spread of Buddhism from the south to the north happen earlier?
2. Did ancient folk myths precede the Buddhist Jataka tales, or vice versa?

Historical records indicate that the ancestors of the Dai people primarily originated from the Baiyue tribe (百越族群), which migrated from southern China to the river valleys of Yunnan. Through long-term integration with local indigenous people, the Dai ethnic group was formed. Thus, elements of Baiyue’s primitive culture, such as bird worship, bird totems, and bird-goddess legends, became part of the Dai culture. These elements were likely transmitted during the Baiyue migration more than 3,000 years ago, predating the emergence of Buddhism by over a thousand years. Based on the sequence of historical development, it is inferred that myths such as “bird-human marriage” and “bird-goddess” were first spread by migrating clans from China’s coastal regions to Southeast Asia. Over a thousand years later, these stories were reintroduced to the Dai areas of Yunnan via Buddhism from Southeast Asia.

National Intangible Cultural Heritage

On June 7, 2008, Zhaoshutun and Nanmunuona was approved by the State Council of China and included in the second batch of National Intangible Cultural Heritage.

Chinese Name: 楚雄州武定县彝族服饰制作技艺 
English Name: Yi Ethnic Costume-making Skill in Wuding County, Chuxiong 

The Yi ethnic memory culture and intangible cultural heritages are showed through pictures, physical objects, reproductions, audiovisuals, live performances and other methods in Wuding County Intangible Cultural Heritage Protection Exhibition Hall(武定县非物质文化遗产保护展示厅), which covers about 150 square meters. The intangible cultural heritage of the Yi nationality is so vast that distributed in all Yi areas, including the Yi clothing, music, dance, folk customs, traditional handicrafts, production and life.

The Yi people is one of the ancient nations in China. In the long history, the Yi people have created a great amount of worthful and splendid culture, and among them the colorful clothes of the Yi people are not only full of material wealth, but also the wisdom of the Yi people, especially the costumes of the Chuxiong Yi people, which are practical and have its own aesthetic characteristics compatible with the scenery and traditional culture of the city. Because the regional environment in which they live is mostly mountainous and semi-mountainous that result in the cold climate, and the Yi people are favorite of black, their clothes,which pay more attention to thickness and warmth, are mostly in teal and blue,but it does not appear to be monotonous, because of the differences in the regions, natural environment and production economics among the13 branches of the Chuxiong Yi nationality. In addition, there are special clothing such as wedding clothes, battle clothes, mourning clothes, and Bi Mo(毕摩). Some are graceful and luxurious, some are clean and neat, and some are gorgeou and generous. Therefore all of them are really dazzling and dizzying.

Overview

The “Ang Ma Tu” Sacrificial Festival (红河州元阳县祭寨神林（哈尼族昂玛突节）) is a significant traditional festival of the Hani ethnic minority, particularly in Yuanyang County, which is located in the Honghe Hani and Yi Autonomous Prefecture in Yunnan Province, China. The Hani people are known for their rich cultural heritage and their remarkable rice terrace farming, which is a UNESCO World Heritage site in Yuanyang.

Festival Characteristics:

Sacrificial Rituals: “Ang Ma Tu” is a sacrificial festival where the Hani people offer sacrifices to the spirits of their ancestors, the heavens, the earth, and other deities to pray for good weather, a bountiful harvest, and the overall well-being of their community.

Folklore and Mythology: The festival is deeply rooted in Hani folklore and mythology. It often involves reciting ancient legends and singing traditional songs that have been passed down through generations.

Community Participation: The festival is a community event where families gather, and everyone participates in the rituals. It is a time for reunion, solidarity, and the reaffirmation of social bonds within the Hani community.

Cultural Performances: Dance, music, and other cultural performances are integral parts of the festival. The Hani people wear traditional costumes and perform dances that are unique to their culture.

Food and Drink: As with many ethnic festivals, food plays a crucial role. There are communal meals featuring local specialties, and often, homemade rice wine is shared among the participants.

Travel Tips:

Respectful Observation: If you are visiting during the festival, it is essential to observe the rituals respectfully. The sacrificial ceremonies are sacred to the Hani people, and outsiders should maintain a demeanor that shows respect for their traditions.

Local Guides: It can be beneficial to have a local guide who can explain the significance of the various aspects of the festival and help communicate with the Hani people, many of whom may speak limited Mandarin and their own Hani language.

Photography: Always ask for permission before taking photos, especially during the more solemn parts of the festival.

Accommodations: Yuanyang is a popular destination for photographers and travelers interested in ethnic cultures, so book accommodations in advance, especially during festival periods.

Transportation: Yuanyang County is accessible by bus from Kunming, the capital city of Yunnan Province. The journey can take several hours, so plan accordingly.

When and Where:

The “Ang Ma Tu” Sacrificial Festival does not have a fixed date as it is based on the lunar calendar and local agricultural cycles. It typically occurs annually, and the specific timing should be confirmed with local resources before planning a visit. The festival takes place in various Hani villages throughout Yuanyang County, each with its own schedule and specific rituals.

Attending the “Ang Ma Tu” Sacrificial Festival offers a unique opportunity to witness the deep spiritual and cultural practices of the Hani people, and it provides an immersive experience into one of China’s many diverse ethnic traditions.

迪庆州德钦县梅里神山祭祀 Sacrificial Ceremony to Meili Snow Mountain in Deqin County, Diqing

昆中药传统中药制剂 Traditional Chinese Medicine Preparation of Kunming TCM Co, Ltc.

 Xuanwei Ham-making Craft in Xuanwei City, Qujing(曲靖市宣威市宣威火腿制作技艺) is listed at the National Intangible Cultural Heritages.

Xuanwei Ham ,got its name because it is produced in Xuanwei(宣威）city,  because the special flavor  ,it always as famous as Jinhua （金华）Ham which produced in Zhengjiang(浙江).The mianly characteristics of Xuanwei (宣威)Ham are :looks like a Chinese lute , more meat with small bone, thick meat with thin skin , fat and lean meat is moderate；After cut it ,smells rich fragrant , lean meat color is fresh red or rose red ,fat meat is milk color, the inner bones looks a little bit pink red ,it seems that the blood still nourishing . The high quality of it is the standard of Ham produced in whole Yunnan province(云南省), so the Xuanwei （宣威）ham usually  be called “Yunnan Ham”.

From the preliminary stage to the Qingming festival  (清明节) ,must take strict precautions aganist spring wind to aviod burst cracking .Timely open the window for 1-2 hours ,keep Ham gradually dry indoor under the ventilate and dry condition .After Lixia festival (立夏）,open and close the doors and windows in time,adjust the tempreture and humidity for enough formentation of the Ham. If necessary the ham hang up upstairs and downstairs can exchange the place so that the fermentation keep consistency .After the dragon boat festival (端午节）,timly open the windows to keep Ham dry and solid,avoid Ham get damp .On the fermentation stage ,the  average monthly tempreture of  indoor should control within 13-16 centigardes and relative humidity within 72-80% .In the daily management should obverse the condition of Ham such like water loss, air-dry,mould growth .According to the climate changes ,through open and close the doors and windows ,make a fire to rise the humidity of the warehouse, create the best fermentation condition for the Ham . Still need strenghthen daily fermentation management after  fermentation basically matured ( big size legs normally fermentaion until to the Mid autumn festival ) . The management can be stoped only when the Ham are taken out from the warehouse.

傣族象脚鼓制作技艺 Elephant-foot Drum Making Craft of Dai Ethnic Minority

Historical Origin

• Origin and Development: The silver craftsmanship in Heqing County has a long history. As early as the Nanzhao period, craftsmen in Heqing began traveling from village to village to craft silver and copper utensils. According to the Heqing County Chronicles, since the Ming Dynasty, with the garrisoning of the central government in Heqing, a large number of Han and other ethnic craftsmen and advanced production techniques were introduced to Heqing and integrated with local craftsmanship, forming the unique silver craftsmanship of Heqing. Over time, this craft has continuously absorbed and borrowed features from other ethnic groups and regions, gradually developing its own distinctive style.
• Cultural Background: Heqing County is one of the main settlements of the Bai people. The Bai people have created a rich cultural heritage in their long history of production and life. Gilding craft, as part of the traditional handicraft of the Bai people, is closely connected with the folk culture, religious beliefs, and other aspects of the Bai people, reflecting their aesthetic concepts and cultural characteristics.

Craft Process

1. Material Selection: Typically, silver with a high purity is selected as the main material. Sometimes other metals, such as gold and copper, are also used to enhance the color and texture of the work.
2. Melting: The silver block is placed in a melting furnace to become liquid silver.
3. Hammering and Beating: The liquid silver is hammered to extend it into a sheet.
4. Mold Making: An initial mold is created, and the silver sheet is hammered on the initial mold to form a preliminary shape.
5. Filling the Mold: Rosin and other fillers are injected into the silver blank to facilitate subsequent processing.
6. Chiseling: Steel chisels and small hammers are used to create patterns and textures on the surface of the silver.
7. Drawing: The silver is processed into threads, which are then shaped into jewelry through techniques such as coiling, flower pinching, thread filling, and stacking.
8. Inlaying: Patterns are cast into the surface of the object, and gold and silver threads or sheets are embedded into the grooves, then polished with a polishing stone.
9. Melting: The rosin and other fillers are removed through high temperatures.
10. Combining and Welding: The patterns are assembled into complete jewelry or objects.
11. Cleaning: The silver blank is cleaned with plum vinegar, sour papaya juice, and other substances to remove impurities.
12. Polishing: The semi-finished product is immersed in detergent and brushed with a copper wire brush to make the surface shiny.
13. Gilding: A special adhesive is applied to the surface of the silver object, and gold foil is attached. The gold foil is gently hammered to ensure it adheres firmly to the silver surface, forming golden patterns or textures.

Artistic Style and Features

• Exquisite Patterns: The patterns of the gilding craft usually have a strong ethnic flavor, with common designs such as dragons and phoenixes, flowers and birds, fish and insects, and human figures, symbolizing good fortune and happiness.
• Strong Color Contrast: The contrast between gold and silver creates a striking visual effect, making the work more magnificent and noble.
• Fine Craftsmanship: The gilding craft requires extremely high skill and patience, with every detail meticulously crafted, giving the work high artistic and collection value.

Heritage and Protection

• Current Heritage Status: The silver craftsmanship of Heqing is mainly passed down in Xinhua Village, Heqing County, where there are many silver-making families who have passed down the craft from generation to generation. Currently, over 3,000 households in Heqing County are engaged in the production and sales of silverware, with about 18,000 employees, forming a complete industrial chain.
• Protection Measures: In 2014, the silver craftsmanship of Heqing was listed as a national intangible cultural heritage by the State Council, receiving better protection and传承. The local government and relevant departments have also taken a series of measures, such as establishing intangible cultural heritage inheritance bases, conducting training activities, and holding exhibitions, to promote the inheritance and development of Heqing silver craftsmanship.

Chinese Name:楚雄州元谋县彝族摔跤
English Name: Yi-style Wrestling in Yuanmou County, Chuxiong

Yi-style Wrestling was listed as Provincial Intangible Cultural Heritages in Yunnan.

Yi Wrestling, designated as a provincial-level intangible cultural heritage, is a traditional sports activity popular in Yuanmou County. It was officially recognized in September 2009 by the Yunnan Provincial People’s Government and listed in the second batch of provincial protection directories.

Introduction Yi Wrestling, known as “Ge” in the Yi language, represents the embodiment of strength and technique. It has been developed by the Yi people over an extended period of production and life. This traditional sports event is widely practiced, highly confrontational, and greatly favored by young men during festive competitions. It serves as a traditional activity for ideological exchange and emotional communication among young people from different villages. Yi Wrestling is a significant component of Yi ethnic traditional sports culture, primarily transmitted in the area of the Black Yi (Nuosu) people in the southern part of the Jinsha River in Yuanmou County.

Historical Origin The history of Yi Wrestling dates back a long time and originated as a means of resisting invasions and defending homelands. Wrestling became a form of martial arts and fitness exercise for the Yi people, characterized by unique forms. According to Yi folklore, the origin of the Torch Festival comes from a strongman in the sky who was defeated in a wrestling match on Earth. The enraged heavenly gods then sent locusts to devour crops, and people used fire to drive away the locusts. This narrative illustrates the ancient history of Yi-style wrestling. Historical records indicate that wrestling, known as “Jue Di” in ancient times, was documented in the Han Dynasty’s “Han Shu” (History of the Former Han Dynasty). The origin of this activity can be traced back to the Tang Dynasty, specifically the Tianbao era. The legends of Yi Wrestling feature heroes and legendary figures such as Alu Jure, Re Dinghaoxing, who were renowned wrestling masters. A Yi proverb states, “Guests are not entertained without wine, and joy is inseparable from wrestling,” emphasizing the importance of wrestling in Yi culture.

Basic Elements Yi Wrestling has no levels or specific costumes, and it exhibits great flexibility. Beyond being a physical contest, wrestling often serves as a means to resolve disputes between villages or settle territorial disputes. When conflicts arise, rather than resolving issues through rational discussions, both parties send wrestling representatives to compete. Wrestling matches are held at the borders between villages, and the outcome determines right from wrong. The winner is deemed correct, while the loser is considered incorrect. Wrestling becomes a way to settle disputes, and without formidable wrestling champions, reasoned arguments become irrelevant.

Key Characteristics Yi Wrestling is passed down through generations via oral and practical teachings, making it the most widespread and traditionally inherited mass sports activity among the Yi people (Nuosu). This traditional sports event embodies the Yi people’s spirit of love for their homeland, bravery in battle, and a cheerful and bold warrior ethos. It showcases the strength and wisdom of the Yi people through physical and intellectual competition.

Significance Yi Wrestling has been designated as a traditional sports event in the Chinese National Ethnic Games. Represented by the Nuosu people from Yuanmou’s Xiaoliangshan region, athletes have repeatedly won gold medals at national, provincial, and regional traditional ethnic sports competitions. This success has laid a solid foundation for promoting and preserving traditional ethnic competitive sports.

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