Background and Early Life

Zheng Qikuan (郑其宽), born in 1919, hails from Zhengjiaying Village (郑家营村), Wujiaying Township (吴家营乡), Chenggong County (呈贡县), Kunming (昆明). He is a master artist known for his work in folk paintings focused on Chinese sages and deities.

Mastery of Sages’ Folk Paintings

In Chenggong, a traditional form of folk painting, known as “Sages’ Paintings” (圣贤画), is highly popular. These paintings often depict sages from Buddhist, Taoist, and Confucian traditions, as well as the God of Wealth (财神). The paintings are typically displayed in homes to represent respect and worship for these revered figures. They often replace the central position of a family altar, symbolizing the family’s reverence for various spiritual figures and ancestors.

Zheng Qikuan began learning the art of painting Chinese sages and creating colored paper models (彩扎) from his father at a young age. His paintings are known for their vivid and accurate depictions of the sages, drawn primarily with bold outlines and lightly applied colors. The figures he portrays exhibit various postures, blending solemnity and reverence with a touch of kindness and compassion. His works are notable for their grace and dignity, with a focus on serenity and spiritual depth.

Contributions to Folk Craft

Apart from painting, Zheng Qikuan is also skilled in the craft of colored paper models, a form of traditional Chinese decorative art. These paper models, known as 彩扎 (colored paper sculptures), are often used in funeral rites as well as celebrations and festivals in rural areas. Zheng’s creations include lively dragons, lions, lanterns, and colorful boats, all designed to meet the needs of local celebrations. His paper models have become highly regarded for their vibrant and joyful expression, earning him significant local fame and recognition.

Legacy and Recognition

Zheng Qikuan’s work has gained widespread popularity in the Chenggong area and beyond, where his creations are admired for their lively spirit and cultural significance. His dedication to preserving these traditional forms of artistic expression has made him a respected figure in the local artistic community.

For more details, visit the original article.

Background and Early Life

Dai Zongyi (代宗义), born in 1942, hails from Dai Jia Village (代家村) in Changmaidi Administrative Area (长麦地办事处), Jiaoxi Township (皎西乡), Luquan County (禄劝县), Kunming (昆明). He is a renowned inheritor of the ancient art of dyeing wool tapestry, a skill passed down through his family for generations. The craft dates back to the late Qing Dynasty (清朝), and Dai is now the fourth-generation practitioner.

Mastery of Wool Tapestry Dyeing

Dai began learning the craft at the age of 13 and has practiced it continuously throughout his life. Wool tapestry, known locally for its durability and moisture-resistant properties, is a highly valued material for various practical uses. To enhance its aesthetic appeal, the technique of dyeing the wool tapestry was developed, turning the plain fabric into colorful, decorative pieces.

Dai’s family has relied on this skill for their livelihood, and under Dai Zongyi’s leadership, the dyeing technique has reached new heights of excellence. Through years of practice, Dai has mastered the intricate steps involved in the dyeing process, becoming a highly skilled artisan. His dyed wool tapestry is not only widely used locally but also in demand in regions such as the Big and Small Liangshan (大小凉山) in Sichuan, Yuanmou (元谋), Wuding (武定), Chuxiong (楚雄), Shuangbai (双柏), and even Xinjiang.

Legacy and Continued Tradition

Dai Zongyi has passed down his knowledge to his third son, and now all three of his sons are able to independently dye wool tapestry. Through his dedication, the craft continues to thrive, ensuring that this unique cultural heritage is preserved and adapted to meet modern demands.

For further details, please visit the original article.

Wang Zai’en – Inheritor of Traditional Oiled-paper Unbrella  in Longling County, Baoshan 

龙陵县象达乡传统纸伞工艺代表性传承人 – 王再恩

http://www.ynich.cn/view-ml-13111-1854.html

Yang Shuming – Inheritor of Jade-carving Skill  in Tengchong County, Baoshan 

腾冲县腾越镇玉雕传承人 – 杨树明

http://www.ynich.cn/view-ml-13111-1857.html

Personal Profile

Zhang Kekang(张克康), male, Han nationality, was born in 1955 in Tongjiao Street, Zhongping Town, Huize County, Qujing City. He is the twelfth generation descendant of Zhang’s bronze spot craftsmanship. The representative inheritor of the bronze production technology project.

Zhang Kekang and Motted Copper-manufacturing

After the Third Plenary Session of the Tenth Central Committee of the Communist Party of China, the technology of Zhang’s brass was reborn. Zhang Xingyuan(张兴元), his father was old, but in order to inherit the production and processing technology of products, Zhang Kekang, his son, reopened in March 1990 to produce bronze. Zhang Kekang, under his father’s oral instruction and after nearly 20 years of practice and exploration, not only mastered the forging and spot-making technology, but also constantly innovated on the basis of the production and processing of the ancestor’s traditional technology. As a descendant of Zhang’s family, Zhang Kekang has mastered the art of producing bronze spot. His main products are “Bafang vase” and “Baer incense stove”. In addition to producing bronze spot, most of them are used to produce lamps, stoves, vases, incense stoves and other supplies with cooked copper.

Process Characteristics

Motted copper is made of natural copper, which must be forged by hand and processed by burning, boiling and showing spots. His bronze bronze works are simple, elegant and magnificent, with high appreciation and collection value, and enjoy the reputation of “one of the best in China”. Due to the long production cycle ofMotted copper and the scarcity of natural copper, the cost of raw spot copper is higher than that of cooked spot copper. The raw materials for producing speckled copper must be good raw copper (natural copper). There are more than two dozen processes for making speckled copper. Some of them have to be repeated many times. 

Social Influence

At present, with the support of governments at all levels, the scale of production has been expanding and the channels of product sales have been smooth. Zhang Kekang has trained his two sons as Inheritors in order to carry forward the bronze bronze art. His bronze bronze works have become a well-known brand in Huize County.

Chinese Version: http://www.ynich.cn/view-ml-13110-3022.html
Translated by Winnie/张赢

Li Hongyuan(李鸿源) was born in Hongta District(红塔区), Yuxi(玉溪市) in 1937. He was the representative Inheritor of Huadeng Music in Hongta District, Yuxi.

Life Experience

Influenced by his father Li Shou(李寿), Li Hongyuan(李鸿源) began singing Yunnan Opera(滇剧) and Huadeng Music(花灯) when he was young. After entering the Huadeng Troupe of the People’s Theatre in Yuxi District(玉溪专区人民戏院花灯团) in 1955, Li Hongyuan was engaged in the composition of Huadeng Music under the guidance of Xue Guoxing(薜国兴), Yang Jiongming(杨炯明) and Ouyang Zhang(欧阳璋). Li Hongyuan is proficient in the Yuanliu(源流) and Qulpai(曲牌) of Huadeng Music, and has designed music and singing tunes for more than 200 lantern plays such as Moxinv(《莫悉女》) and won many prizes in provincial and national competitions.

Achievements

Li Hongyuan’s Huadeng Music not only has the distinct features of Huadeng Music, but also conforms to the characteristics and feelings of the characters. On the basis of inheriting Yuxi Huadeng Music, Li Hongyuan also absorbed and integrated other music materials to innovate Yuxi Huadeng Music. He summarized six techniques of Huadeng Music, namely, Decoration(套用装饰), Emphasis features(重点突出), Variety(一曲多变), Connection(曲牌连接), Collection(摘句集曲) and Multi-tone(多声色彩).

Reputation

Li Hongyuan’s main papers include more than 10 articles, such as Composition and Creation of Tunes(《配曲与创腔》), Analysis of Composition Techniques of Huadeng Music(花灯音乐作曲技法探析), Introduction to Huadeng Music in Yuxi Area(《玉溪地区花灯音乐简介》). He edited a 400,000-word series of Yunnan Opera Music, Yuxi Huadeng Music(《玉溪花灯音乐》), and published his personal monograph Selected Works of Huadeng Music by Li Hongyuan(《李鸿源花灯音乐作品选》). In 2006, he got the Yunnan Literature and Art Achievement Award(云南文学艺术成就奖) by the Propaganda Department of Yunnan Provincial Committee(云南省省委宣传部), Yunnan Provincial Culture Department(云南省文化厅) and Yunnan Provincial Literature and Art Federation(云南省文联).

Chinese Version: http://www.ynich.cn/view-ml-13110-829.html
Translate by Sean-Dai/代志云

Brief Introduction

Chen Keqin(陈克勤), Han nationality, was born in Hongta district, Yuxi city in 1935, who is the inheritor of Lantern music(花灯音乐). Influenced by his family since his childhood, Chen Keqin loves lantern performance art very much.

Career

After graduating from high school, he joined the publicity team of Yuxi Federation of Industry and Commerce(玉溪工商联), and participated in the preparation of Yuxi People’s Experimental Troupe(人民实验剧团). In 1952, Chen Keqin joined the lantern group of the troupe  (later renamed Lantern Troupe).  During the 7 years  in the troupe, Chen Keqin was particularly fond of studying lantern singing, drama literature and musical instrument accompaniment, and was carefully taught by famous artists — Xue Guoxing(薛国兴), Yang Jiongming（杨炯明） and Wu Jiashun（吴家顺）. In lantern show, especially in lantern singing, he not only inherited the skills of the older generation of lantern artists, but also brought forth the new, and gradually formed his own singing characteristics.

He is an all-round artist, also as a director, band accompaniment, can be said to be versatile. At the height of his acting career, Chen Keqin was wrongly labeled a “Rightist“(右派) in 1958 and spent 22 years in prison.

Achievements

For a long time, Chen Keqin is committed to Yuxi lanterns’ creation, performance of the play and popularized work. He collected more than 1.3 million words about Yuxi lantern information and created 13 lantern plays for amateur performers. In his creation, he paid great attention to the application of local customs and slang in traditional plays, making lantern songs easy to understand and popular with the public. Many of his works won awards.

In 1989, he won the Advanced Worker Award(先进工作者奖)of the national key scientific research project –“ Chinese Opera Records — Yunnan Volume”(《中国戏曲志·云南卷》). The Drama Records of Yuxi Area(《玉溪地区戏曲志》)edited by him won the third prize in the compilation of historical records of Yunnan province. He is also a member of Chinese Dramatists Association(中国戏剧家协会会员) and Chinese Society of Mass Culture(中国群众文化学会会员).

http://www.ynich.cn/view-ml-13110-830.html

Translated by Bella Ren/任新月

Purple Pottery Craftsmanship in Wanyao Village, Jianshui County   建水县碗窑村紫陶工艺

http://www.ynich.cn/view-ml-11111-1216.html 

Zhewan Village (者湾村), located in Sijie Town (四街镇), Tonghai County (通海县), Yuxi City (玉溪市), Yunnan Province (云南省), is renowned as the “Bishan Ink Village” (碧山墨庄) and has long been celebrated as the “Hometown of Calligraphy and Painting” in the province. In 2006, Zhewan’s calligraphy and painting were listed in the first batch of Intangible Cultural Heritage of Yunnan Province. Below is a detailed introduction to Zhewan’s artistic heritage:

Historical Origins and Cultural Traditions

Scholars of the Ming and Qing Dynasties

Since the Ming and Qing dynasties, Zhewan Village has produced many accomplished scholars and artists. Notable figures include:

• Bu Wenxing (布文星), martial examination champion in 1798 (Jiaqing 3rd Year), known for semi-cursive script.
• Li Jiazheng (李家政), recognized for upright and rigorous regular script.
• Li Duo (李铎), known for bold regular script and graceful cursive writing.

Due to the abundance of literati during the Guangxu period of the Qing Dynasty, Zhewan earned the nickname “Bishan Ink Village” (碧山墨庄).

From the Republic Era to Modern Times

During the Republic of China period, calligraphers such as Gao Tai (高泰), Yang Hongfa (杨鸿发), and Bu Zenghua (布增华) rose to prominence.

Contemporary artists including Yang Bingshun (杨炳舜), Li Shuanghua (李双华), and Yang Zhengfu (杨正福) have had their works exhibited and awarded nationally.

Artistic Achievements and Activities

Exhibitions and Publications

• In 1994, Zhewan held its first village-level calligraphy and painting exhibition, featuring 145 works and attracting over 1,000 visitors.
• In 2003, the “First Zhewan Village Farmers’ Calligraphy and Painting Exhibition of Tonghai County” was held at the county cultural center and the Yuxi Youth Palace.
• In 2004, Zhewan Hanmo Collection (《者湾翰墨集》) was published, compiling 122 works by 38 villagers—pioneering village-level art book publishing.

Awards and Collections

• Yang Bingshun’s calligraphy was included in the China International Literature and Art Expo.
• Li Shuanghua received the “Chinese Calligraphy and Painting Artist of the Century Award” in 1999.

Transmission and Safeguarding Measures

Bishan Ink Village Calligraphy Association (Established in 2004)

• The association has 42 members, aged from 8 to 87.
• It regularly hosts exhibitions, writing sessions, and lectures, and partners with Zhewan Primary School (者湾小学) for competitions.

Spring Festival Couplets Initiative

• Villagers voluntarily write Spring Festival couplets for the community, promoting traditional culture.

Artistic Family Atmosphere

• Around one-third of the households display calligraphy and paintings; most Spring Festival couplets are written by residents themselves.
• A typical example is Li Tingfa (李廷发), a farmer-artist whose three-generation household practices calligraphy and painting, recognized as a “Most Beautiful Family”.

Modern Challenges and Cultural Tourism Integration

Challenges in Inheritance

• With the rise of digital technology, fewer young people are learning traditional calligraphy and painting.

Integration with Cultural Tourism

• Zhewan has created a cultural corridor, adorning residential walls with calligraphy and paintings to promote rural tourism.
• Traditional performances, long-table banquets, and bonfire parties are combined with visual arts to advance the integration of culture and tourism.

Cultural Significance of Zhewan Calligraphy and Painting

• Model of Farming-Reading Culture: Villagers are said to “work with hoes in hand and write with brush in hand.”
• Symbol of Ethnic Unity: The art of calligraphy and painting fosters interethnic cultural exchange and strengthens community cohesion.

For Chinese version please go to:
http://www.ynich.cn/view-ml-11111-1214.html

Guansuo Opera (关索戏), also known as “Playing Guansuo” (玩关索), is an ancient form of Nuo opera (傩戏) that survives exclusively in Xiaotun Village (小屯村), Yangzong Town (阳宗镇), Chengjiang County (澄江县), Yunnan Province (云南省). With a history spanning over 300 years, it originated from ancient ritual performances meant to ward off evil spirits and plagues, gradually evolving into a form of theater that entertains both deities and people.

Historical Origins

The origin of Guansuo Opera is closely tied to Guansuo (关索), a legendary general of the Shu Han state during the Three Kingdoms period. Although there are no definitive historical records, local legends suggest that the opera existed during Zhuge Liang’s (诸葛亮) Southern Campaign. It became popular before the Kangxi period of the Qing Dynasty and was initially performed as a way for the villagers of Xiaotun (小屯村) to seek peace in times of hardship by dramatizing stories of the “Five Tiger Generals” (五虎大将) of Shu.

Performance Style

Guansuo Opera is known for its unique performance style—there is no fixed stage, no makeup, and it is not limited by time or location. Actors wear masks while singing and dancing, preserving the ritualistic elements of ancient Nuo performances. Before each performance, a ritual is held to worship at the Temple of the Music King (乐王庙), and only stories from the Three Kingdoms are staged. There are three main role types: sheng (生), dan (旦), and jing (净). Interestingly, the jing roles (such as Bao Sanniang and Princess Baihua) are all portrayed by men in female costume. No facial paint is used—only symbolic masks.

Ritual Procedures

Guansuo Opera follows a fixed set of rituals and procedures:

• Worship of the Medicine King (祭药王): Held annually on an auspicious day in the 12th lunar month at Lingfeng Temple (灵峰寺), this ritual honors deities such as the Five Manifest Spirits (五显灵官).
• Rehearsal and Preparation: After the ritual, actors begin rehearsals leading up to New Year’s Eve. On that night, they bathe at Lingfeng Temple and stay there, abstaining from meat.
• Village and Household Performances: Starting on the first day of the lunar new year, performers tour the village in what is called “treading the village” (踩村); when passing through streets, it’s called “treading the streets” (踩街); and when performing in homes by invitation, it’s called “treading the households” (踩家).
• Formal Performance: Each show begins with Appointing Generals (点将), depicting Liu Bei (刘备) and Zhuge Liang assigning titles. This is followed by martial plays, often duets involving combat.
• Farewell to Deities and Sending off the Medicine King: At the end of each day’s performance, a farewell ritual is held. On the 16th day of the first lunar month, the “Sending off the Medicine King” (送药王) ceremony marks the end of the festivities.

Vocal Style and Accompaniment

Guansuo Opera features a complex vocal system with no string instruments—only percussion, giving the music a strong rhythmic character. Common tune types include long plate (长板), short plate (短板), messenger plate (报信板), seven-character plate (七字板), and broadsword tune (大刀腔). Gongs and drums direct tempo and key changes. Singers are not bound by strict pitch or rhythm, so even the same melody may sound different from one performer to another.

Masks and Costumes

Actors wear masks during performances, symbolizing divine entities. The roles are categorized into sheng, dan, and jing, with jing roles typically played by men dressed as women. Each role is distinguished through its specific mask and costume.

Cultural Significance

Guansuo Opera is a valuable resource for studying the development of ancient Chinese drama. It preserves the essence of original Nuo rituals while incorporating regional cultural elements, making it a key part of Yunnan’s Nuo heritage. In 2011, Guansuo Opera was listed as a National Intangible Cultural Heritage, becoming a vital part of Chengjiang County’s folk culture.

Modern Inheritance

In recent years, Chengjiang County (澄江县) has promoted the preservation and development of Guansuo Opera through cultural festivals and public performances. These efforts have brought the art form into the public eye, revitalizing this ancient tradition with new energy.

Guansuo Opera is a cultural gem unique to Xiaotun Village (小屯村). With its distinctive performance style and deep cultural roots, it continues to attract growing attention and admiration.

For Chinese version please go to:
http://www.ynich.cn/view-ml-11111-1145.html

Duangongxi in Zhaotong City  昭通市端公戏

Duangongxi: Shamanistic Plays

http://www.ynich.cn/view-ml-11111-1146.htmlzh

Overview of Songming Huadeng (嵩明花灯)

Songming Huadeng (嵩明花灯) is one of the key regions in Yunnan where the traditional Huadeng Opera is preserved and performed. The cultural heritage of Songming County (嵩明县), located in Kunming, is marked by a long-standing tradition of Huadeng performances, which are a type of folk opera often associated with local festivals and celebrations.

Historical Significance and Evolution

Historically, Songming Huadeng was a vibrant part of local culture, with over 200 villages once engaging in Huadeng activities. In addition to the Lantern Festival (元宵节) performances, Songming Huadeng also thrived in various folk temple fairs (庙会), and the performance period could last anywhere from one to two months.

The style of Huadeng in Songming is noted for its diversity. The performances are typically divided into two parts:

• “Tuanchang” (团场): The opening program, which is characterized by a lively and festive atmosphere, typically includes paired male and female performers engaging in song and dance.
• “Zuochang” (坐场): This section features smaller plays, songs, and dances, with a focus on smaller operas or “xiao xi” (小戏).

Unique Features and Performance Styles

Songming Huadeng is particularly known for its xiao xi (小戏), or small operas, which include approximately 70 different plays. Among these, the “Jiang Kou Xi” (讲口戏) style is unique to the region and features dialogues without musical accompaniment, which sets it apart from Huadeng traditions in other regions.

In the 1950s, the “Tuanchang” portion of Songming Huadeng was adapted by the General Political Department’s Song and Dance Troupe into the “Hong Deng Wu” (红灯舞) performance, which was showcased at the “World Youth Festival” and gained national recognition.

Although the tradition faced setbacks after the 1950s, during which Huadeng performances were disrupted for years, the tradition saw a revival in the 1980s. However, with the passing of several skilled traditional performers, some plays, tunes, and performance styles have slowly faded away.

Notable Performances and Cultural Influence

Some of the more well-known Huadeng tunes and performances from Songming Huadeng, such as “Songming Picking Tea” (嵩明采茶), “Wang’s Water Carrying” (王氏挑水), and “Eagle Spreads Its Wings” (老鹰亮翅), have spread across Yunnan, becoming widely recognized and frequently performed by various Huadeng troupes throughout the province. Despite the challenges faced by the tradition, Songming Huadeng remains a significant cultural expression and an important aspect of Yunnan’s rich folk art heritage.

For further details, visit Huadeng Opera in Songming County.

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Chen Keqin – Inheritor of Huadeng Music in Hongta District, Yuxi 

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• Weixin County
• Yanjin County
• Yiliang County (Zhaotong)
• Yongshan County
• Zhaotong
• Zhaoyang District
• Zhenxiong County

Huadeng Opera in Songming County, Kunming

Overview of Songming Huadeng (嵩明花灯) Songming Huadeng (嵩明花灯) is one of the key regions in Yunnan where the traditional Huadeng Opera is preserved and performed. The cultural heritage of...

Culture    Veiw

• Han Chinese
• Intangible Cultural Heritages in Kunming
• Kunming
• Songming County
• Yi Ethnic Minority