Beng Deliang - Dai Folk Artist in Lianghe County, Dehong 

Bang Deliang (蚌德亮), Dai name Yanban (岩板), is one of Yunnan Province’s first batch of provincial-level intangible cultural heritage (ICH) representative inheritors, and a key guardian of Dai (傣族) folk art. Born in 1942 in Hudong Village (户东村), Mangdong Township (芒东乡), Lianghe County (梁河县), Dehong Prefecture (德宏州), Yunnan Province (云南省), he was exposed to art from an early age through his father, Bang Xiangbao (蚌相保), a local carving artisan.

Bang Deliang’s works combine Dai traditional culture with modern artistic elements. His creations span folk paintings, Buddhist sculptures, and Dai opera costumes, winning awards at provincial, prefectural, and county exhibitions. As a cultural inheritor, he has actively contributed to local cultural life and passed his skills to the next generation, ensuring the continuation of Dai folk art.

I. Personal Background

• Name: Bang Deliang (蚌德亮), Dai name Yanban (岩板)

• Gender: Male

• Ethnicity: Dai (傣族)

• Year of Birth: 1942

• Hometown: Hudong Village, Mangdong Township, Lianghe County, Dehong Prefecture, Yunnan Province

Local Context

• Lianghe County lies in the western Hengduan Mountains, on the western slopes of Gaoligong Mountains, with over 20 ethnic groups, including Han, Dai, Achang, Jingpo, Deang, Lisu, and Wa.

• Lianghe is known as the hometown of Chinese folk arts and Hulusi (葫芦丝), a traditional wind instrument.

• Mangdong Township is a Dai-populated area; Hudong Village is one of its natural villages.

• Dai motifs:

  • Red/Green: commemorate ancestors

  • Peacock: auspiciousness

  • Elephant: abundance and prosperity

II. Learning and Transmission

Bang Deliang’s artistic development followed a “family tradition + formal training + creative practice” model:

III. Craft Characteristics and Representative Works

Dai Folk Art Features

• Multi-disciplinary: painting, sculpture, costume design, architectural decoration

• Integration: different art forms influence each other, forming a unique style

• Cultural Significance: reflects Dai life, beliefs, and values; common motifs include peacock, elephant, phoenix, dragon, human figures, flowers, insects, and birds

• Buddhist Influence: as followers of Theravada Buddhism, Dai folk art often incorporates Buddhist themes

• Aesthetic & Practical: works combine visual appeal with functionality (e.g., Dai opera costumes and hats)

• Color Usage: bright and contrasting colors (red, green, yellow, blue, black); culturally symbolic, e.g., red/green honor ancestors

Representative Works

• Folk Paintings:

  • New Year prints such as “Military-Civilian Joint Defense Protecting the Homeland” and “Joyful Harvest” for Provincial People’s Publishing House

  • Farmer paintings exhibited at provincial, prefectural, and county levels, winning awards

• Sculptures:

  • Buddhist statues in the 1980s for temples in Mangbang, Huyin, Jinmeng, etc.

  • Statues characterized by vivid forms and solemn expressions, reflecting Dai Buddhist art

• Dai Opera Costume Design:

  • From 1998, designed and painted costumes and hats for village Dai opera performances

  • Costumes influenced neighboring Longchuan and Yingjiang counties; combined traditional elements with modern aesthetics

• Cultural Organization:

  • Organized villagers to perform Dai opera, enhancing rural cultural life and promoting Dai traditional culture

IV. Contributions and Impact

• Skill Transmission:

  • Passed skills in painting, clay modeling, and wood carving to his son Bang Youwan and siblings Bang Decheng, Bang Dezhou, ensuring multi-generational inheritance

• Cultural Influence:

  • His costumes and paintings enriched local Dai culture and spread to neighboring regions

  • Dai opera organization nurtured local cultural enthusiasts and future inheritors

• Innovation:

  • Combined traditional techniques with modern aesthetics

  • Costume design exemplifies innovative adaptation while preserving ethnic characteristics

• Rural Cultural Revitalization:

  • Cultural activities invigorated rural communities, strengthened ethnic cohesion, and contributed to rural cultural and spiritual development

V. Conclusion

As a provincial-level ICH inheritor, Bang Deliang has devoted his life to preserving and innovating Dai folk art. Beginning with family inheritance, he has integrated multiple Dai art forms—painting, sculpture, and costume design—into his creative practice. His work not only has artistic and cultural value but also plays an important social role in ethnic culture promotion, education, and rural cultural revitalization. His legacy continues through the next generation, particularly his son Bang Youwan, who founded the Boma Arts School in Mangdong Township to further preserve and transmit Dai traditional culture.