Che Xuelin - Inheritor of Folk Zhizha Paper Art in Lucheng Town, Chuxiong 

Basic Background and Learning Journey

​​Che Xuelin (车学林)​​, a ​​Han Chinese male (汉族男性)​​ born in ​​August 1917 (1917年8月)​​ in ​​Mishi Street (米市街, some records cite Xinyi Street), Lucheng Town, Chuxiong City, Yunnan Province (云南省楚雄市鹿城镇米市街)​​, was a ​​second batch of provincial-level intangible cultural heritage representative inheritor (第二批省级非物质文化遗产代表性传承人)​​ for ​​traditional paper effigy craftsmanship (民间纸扎技艺)​​. A renowned master of paper effigies and "Tunkou" (吞口, ritual protective paintings), he inherited family techniques, absorbed diverse regional styles, and created unique works celebrated for their intricate design and cultural depth. Though deceased, his legacy as a pioneer of Chuxiong’s paper effigy art endures.

Learning Journey: A Legacy of Family and Innovation

Che’s connection to paper effigy making was rooted in a multigenerational artistic lineage:

• ​​Family Heritage​​: His family, originally from Jiujiang, Jiangxi, migrated to Yunnan during the Qing Dynasty. His maternal grandfather and third uncle were seasoned paper effigy artisans, immersing him in the craft from childhood.
• ​​Apprenticeship​​: Beyond family, Che learned from masters like He Xiuchun of "Xiyun Shanfang" (西云山房), studying techniques for crafting ao yu deng(鳌鱼灯, dragon-head lanterns) and zou ma deng(走马灯, revolving lanterns). He also traveled to Suzhou and Chengdu to refine his skills, blending northern and southern Chinese paper effigy traditions.
• ​​Cultural Foundations​​: Raised in Lucheng Town—renowned as the "Hometown of Bronze Drums" for its millennia-old bronze drum heritage—Che drew inspiration from local Yi culture, including left-foot dance (zuo jiao wu) and lantern operas, enriching his artistic vocabulary.

Artistic Characteristics and Technical Mastery

Che’s craft blended technical precision, cultural symbolism, and innovative design:

Paper Effigy Craftsmanship: Techniques and Style

• ​​Materials and Process​​: Using bamboo strips for skeletons and rice paper/silk for covering, Che followed a rigorous six-step process: design, material selection, heating/bending bamboo, binding, pasting paper, and painting. He excelled in skeleton crafting and color application, ensuring durability and vividness.
• ​​Innovative Details​​: His "Yao Lu Gui" (吆路鬼, road-guiding spirit) and "Da Lu Shen" (打路神, road-clearing deity)—key ritual effigies—featured hidden mechanisms: bellows inside their bellies held incense powder, releasing smoke during ceremonies to "communicate" with spirits, a local innovation that earned widespread acclaim.
• ​​Aesthetic Excellence​​: His works, including effigies of historical figures (e.g., Xue Rengui, Lü Bu) and mythological tales (e.g., The Legend of the White Snake), were celebrated for lifelike details and vibrant colors, reflecting Chuxiong’s folk aesthetic.

"Tunkou" Painting: Ritual Art with Local Flair

Che was also a master of "Tunkou"—traditional folk paintings for warding off evil:

• ​​Technique​​: Using woodblock printing, he created bold, naive figures with "women without shoulders, men without necks"—a rustic style evoking rural charm.
• ​​Cultural Role​​: Tunkou, deemed protectors of households, were integral to local folk beliefs, with Che’s works serving as both art and spiritual anchors.

Cultural Contributions and Legacy

Safeguarding Paper Effigy Heritage

As a provincial inheritor, Che preserved Chuxiong’s paper effigy tradition—a craft with roots in Tang Dynasty funeral rites, evolving into a cornerstone of Yunnan’s intangible heritage. His studio, though informal, served as a living archive, where he taught techniques like skeleton design and Tunkou painting, ensuring the craft’s survival.

Nurturing Community Craftsmanship

Che trained countless disciples, many of whom later practiced across China. Though his formal lineage is unclear, his open teaching philosophy fostered a network of local artisans, keeping the tradition vibrant.

Strengthening Cultural Identity

Che’s works—effigies for rituals, lanterns for festivals, and Tunkou for home protection—reinforced Chuxiong’s cultural pride. As a Han artisan deeply engaged with Yi culture, he embodied the region’s multicultural harmony, bridging ethnic traditions through art.

Cultural Context of Paper Effigy in Chuxiong

Historical Roots

Chuxiong’s paper effigy culture, influenced by Han migration and local Yi traditions, dates to ancient funeral practices. Che’s family, part of this migration, brought northern techniques that merged with southern finesse, creating a distinct Chuxiong style.

Regional Significance

Lucheng Town’s rich cultural tapestry—including Yi left-foot dance and lantern operas—provided Che with endless inspiration. His works, blending these elements, became iconic representations of Chuxiong’s identity.

Challenges and Preservation

Challenges

• ​​Aging Artisans​​: Few young people mastered the craft’s complexity.
• ​​Modern Pressures​​: Machine-made goods and shifting lifestyles reduced demand.

Protective Efforts

• ​​Policy Support​​: Che’s recognition as a provincial inheritor and Chuxiong’s "intangible heritage + tourism" initiatives provided institutional backing.
• ​​Community Engagement​​: Local "intangible heritage into schools" programs and cultural festivals kept the craft visible.

Conclusion

Che Xuelin was more than a paper effigy master—he was a ​​guardian of Chuxiong’s soul (楚雄文化的精神守护者)​​. His hands, calloused by decades of bending bamboo and painting, wove history, faith, and art into every effigy. Through innovation, teaching, and cultural synthesis, he ensured Chuxiong’s paper effigy legacy would thrive, bridging past and present.To learn more, contact the ​​Chuxiong City Culture and Tourism Bureau (楚雄市文化和旅游局)​​ or explore Lucheng Town’s cultural centers to witness the enduring art of Che Xuelin’s paper effigies.