Nan Zineng  - Folk Sculpture Artist in Gengma County, Lincang 

Introduction

Nanzineng, a male ​​Dai ethnic artist​​ born in 1947, is a respected inheritor of intangible cultural heritage from Hanyun Village, Gengma Dai and Wa Autonomous County, Lincang City, Yunnan Province. Recognized as a representative inheritor in Yunnan's second batch of provincial-level intangible cultural heritage, he specializes in ​​traditional Dai clay sculpture​​, particularly excelling in Buddhist statue creation. His works adorn significant Buddhist sites like the Gengma County Main Buddhist Temple and Jingge White Pagoda, representing the excellence of Dai religious art.

Artistic Skills and Creative Style

Nanzineng's sculpture techniques display distinct ​​Dai cultural characteristics​​ and religious artistic style:

​​Thematic Focus​​

• Primarily creates ​​Buddhist statues​​ including Bodhisattvas and small pagodas
• Works are mainly used in temples and pagodas, reflecting the Dai people's devotion to Theravada Buddhism

​​Creative Process​​

• Oversees everything from architectural design to Buddha statue shaping
• Demonstrates meticulous attention to detail from overall pagoda design to specific Bodhisattva expressions
• Maintains respect for traditional techniques while demonstrating deep understanding of religious culture

​​Artistic Characteristics​​

• Employs exaggerated features typical of Dai Buddhist art: larger heads, narrower shoulders, elongated ears reaching shoulders, and exaggerated finger length
• These stylistic choices emphasize the Buddha's extraordinary, transcendent nature beyond ordinary human form

​​Material and Technique​​

While specific details aren't extensively documented, traditional Dai clay sculpture typically involves:

• Creating a wooden frame wrapped with straw that can adhere to clay
• Bundling straw to form a rough blank
• Applying modeling clay over the blank
• Using tools to sculpt body and clothing details
• Final coloring and painting

Representative Works

Nanzineng's most significant works are concentrated in Gengma County's religious sites:

​​Gengma County Main Buddhist Temple Statues​​

• Among his most representative clay sculptures
• The temple is an important Buddhist site for the local Dai community
• Houses statues of Sakyamuni Buddha and other Buddhist figures

​​Small White Pagoda and Dragon Pillars​​

• Another important set of works located within Gengma County
• Significant components of Dai religious art and culture

​​Jingge White Pagoda Sculptures​​

• Between 1991-1992, Nanzineng led reconstruction of the pagoda damaged in the 1988 Gengma earthquake
• The pagoda, located in Jingge Park, is a representative Buddhist building with distinct Dai characteristics
• ​​Pagoda specifics​​:
  • Originally built in 1778 during the Qing Dynasty by local chieftain Han Chaoyuan to commemorate China-Myanmar friendship
  • Main tower stands approximately 30 meters, symbolizing the Buddha's transcendent stature
  • Surrounded by 12 subsidiary towers representing the Buddha's twelve principal disciples
  • Brick and stone structure with gold foil coating that glitters in sunlight
  • Features 12 Buddhist statues including Tathagata, Guanyin, Maitreya Buddha, and 9 Vajra Arhats

Cultural Context of Gengma County

Nanzineng's artistic practice is rooted in Gengma's rich cultural environment:

​​Religious Foundation​​

• The Dai people predominantly practice ​​Theravada Buddhism​​, which forms the core of their cultural identity
• Sculpture art primarily serves temple architecture and religious activities

​​Regional Distinctiveness​​

• Gengma Dai traditional crafts have unique characteristics
• For example, in pottery making, they don't use wheels but instead shape clay directly on their knees

​​Cultural Integration​​

• Dai sculpture results from cultural fusion between Dai culture and Southeast Asian influences
• Statues at Gengma's Main Buddhist Temple also show influences from Han Chinese Buddhist traditions

​​Vibrant Artistic Ecology​​

• Gengma boasts rich folk art resources including Dai paper cutting, weaving, lacquerware, and White Elephant Deer Dance
• These diverse art forms collectively create Gengma's colorful cultural tapestry

Inheritance and Contribution

As a provincial-level intangible cultural heritage representative inheritor, Nanzineng has contributed significantly to:

​​Technical Preservation​​

• Continues traditional sculptural practice despite advanced age
• Provides sculptures for local religious sites, maintaining Dai traditional sculpture art

​​Cultural Contributions​​

• His works represent both personal artistic expression and important components of Dai religious cultural heritage
• Applications in Gengma's religious sites help preserve and transmit Dai religious culture

​​Social Recognition​​

• Awarded "Assistant Technician" title by Gengma County Rural Technology Committee
• Member of Lincang City Literary Federation, indicating official and social recognition of his artistic achievements

Intangible Cultural Heritage Protection in Gengma

Gengma County emphasizes intangible cultural heritage protection through:

​​Protection System​​

• Established heritage listing system and identified representative inheritors
• Set up transmission centers to ensure traditional skills continue

​​Inheritor Community​​

• Currently has 130 intangible cultural heritage representative projects at various levels
• 73 representative inheritors at different administrative levels

​​Transmission Models​​

• Encourages "1+N" master-apprentice transmission model
• Forms a chain-type cultivation system where "apprentices become masters"

​​Protection Results​​

• Effective preservation and development of national intangible cultural heritage items like Dai paper cutting and White Elephant Deer Dance
• New vitality injected into local cultural industries

Conclusion

Nanzineng stands as a ​​significant figure​​ in Dai traditional sculpture art from Gengma County. Through his technical mastery and creative output, he has made substantial contributions to preserving and transmitting ​​Dai religious artistic traditions​​. While detailed information about his personal life, specific techniques, and inheritance lineage remains limited in public records, his representative works and social recognition confirm his ​​important position​​ within the realm of Dai religious art. His sculptures continue to serve as both religious objects and cultural treasures, connecting contemporary Dai communities to their rich artistic heritage.