Dong Zhonghao - Inheritor of Gold, Silver and Copper Wares-making Skill in Heqing County, Dali

Master Artisan Dong Zhonghao: Guardian of Heqing’s Silver and Copper Craft

Dong Zhonghao (董中豪), born in 1946 in Xinhua Village (新华村), Heqing County (鹤庆县), Dali Prefecture (大理州), Yunnan Province, is a celebrated inheritor of a silversmithing lineage. He is recognized as a provincial representative inheritor of intangible cultural heritage (second batch) and holds the title of Senior Folk Artist of Yunnan Province. At 79 years old, he is renowned for his mastery in gold, silver, and copper craftsmanship—particularly in creating copper Buddha statues and religious artifacts. His works, including significant copper decorations for Songzanlin Monastery (松赞林寺), reflect his role as both a preserver and innovator of traditional craftsmanship, as well as a cultural bridge among Tibetans, Bai, and other ethnic groups.

Background and Early Training

• Ethnicity: Bai (白族)

• Birth: April 1946, Xinhua Village (新华村), Heqing County

• Family Heritage: Belonging to a long line of silversmiths, he and his father and son are all recognized inheritors of the Heqing tradition.

Xinhua Village is the core center for silver and copper craftsmanship in Heqing, with a history stretching back more than 1,000 years. As recorded in the Gazetteer of Heqing County (鹤庆县志), villagers were already working with gold, silver, and copper during the Nanzhao Kingdom (南诏国, Tang dynasty). The saying “a thousand years under the little hammer” vividly reflects this enduring tradition.

At the age of 17, Dong apprenticed in silver, copper, and iron crafts. Thanks to his diligence, he was working independently within a year. Following the silversmith tradition of “zou yifang (走夷方)”—traveling with a small furnace and tools—he journeyed through Sichuan, Tibet, Guizhou, Guangxi, and Yunnan, producing jewelry, clothing ornaments, and daily utensils for diverse ethnic communities. These journeys not only spread Heqing craftsmanship but also infused it with outside cultural elements.

Artistic Achievements and Key Works

1. Technical Innovation and Cultural Fusion

• Chain-link Technique (挂链工艺): Introduced to Heqing in 1970 after Dong studied it elsewhere and successfully applied it in Dengchuan (邓川).

• Cross-cultural Style: Blended Tibetan, Bai, Miao, and other ethnic aesthetics into his creations.

2. Representative Works

• Songzanlin Monastery (松赞林寺), Shangri-La: Led a team of artisans to restore and produce copper decorations such as finials and roof ornaments.

• Copper Buddha Statue (艺康甘达寺, Tibet): Crafted a 7.6-meter Shakyamuni Buddha statue, a major success.

• Religious Artifacts: Produced Buddha statues, finials, prayer wheels, and Dharma wheels in Xiaochangdu (小昌都), Kunming Ethnic Village (云南民族村), and other locations.

• Engraved Artworks: His piece “Engraved Imperial Censer (錾刻帝王熏炉)” was exhibited in the National Art Fund’s 2024 showcase project “Inheritance and Innovation: Contemporary Chinese Craft & Digital Creative Design” (守正创新·当代华章——中华工艺传承与数字文创设计展).

Craft Characteristics

Transmission and Contribution

• Family Lineage: Three generations of silversmiths.

• Apprenticeship: Follows the traditional “master-apprentice” method, teaching engraving and craftsmanship.

• Cultural Spirit: Passes down the “zou yifang” ethos of cultural exchange.

Contributions to Heritage

• Skill Transmission: Mentored many local artisans.

• Cultural Exchange: Fostered interaction among Tibetan, Bai, and other groups.

• Industry Development: Alongside fellow masters Cun Fabiao (寸发标), Mu Binglin (母炳林), and Hong Yuchang (洪钰昌), he advanced the protection and revitalization of Heqing silverwork.

• Regional Branding: Helped establish the national reputation of “Heqing Silversmiths (鹤庆银匠)”.

Overview of Heqing Silver and Copper Craft

• Origins: Dates back to the Nanzhao Kingdom (Tang dynasty), over 1,000 years ago.

• Ming Dynasty: Military officials stationed in Heqing transmitted advanced techniques, spurring local adoption.

• Peak Period: Flourished during the Qing and Republican eras, with Xinhua Village (新华村) and Xiuyi Village (秀邑村) known respectively as the “Village of Silver” and “Village of Copper.”

Craft Process:

1. Preparation: Selecting and smelting metals in traditional furnaces.

2. Forming: Hammering, pressing, drawing wire, molding.

3. Decoration: Engraving, gilding, inlay, enamel—engraving (zan ke, 錾刻) being the hallmark.

4. Finishing: Polishing and assembling into the final product.

Cultural Value:

• Symbol of multi-ethnic integration, incorporating Han, Tibetan, Bai, Miao, Yi, and more.

• Combines practical use with artistry.

• A vehicle for cultural exchange, spreading Heqing craftsmanship across China.

• Ethnic identity marker: Engraved motifs serve as a shared “cultural language” for 30+ ethnic groups.

Conclusion

As a master inheritor of Heqing’s millennia-old silver and copper craft, Dong Zhonghao has safeguarded and enriched this intangible heritage. His copper Buddha statues and religious artifacts embody superb craftsmanship while carrying profound cultural significance. More than a craftsman, he is a cultural ambassador whose artistry strengthens inter-ethnic connections and ensures the legacy of Heqing silversmithing continues to thrive.

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