Jianshui Flower Lantern is a unique form of folk art from the Jianshui area in Yunnan. It combines the charm of Han lanterns with the musical style of the Yi people, which is why it is also known as the “Yi Flower Lantern.” This art form has a long history dating back to the Ming and Qing dynasties when small tunes were introduced into southern Yunnan. Over time, it evolved into a distinctive performance system with its own artistic style.

Artistic Characteristics

• Fusion of Diverse Cultures:
  The Jianshui Flower Lantern has absorbed various elements from both Han and Yi traditions, including songs, dances, and languages. This fusion results in performances characterized by dynamic rhythms, a wide vocal range, and clear melodies. Traditional instruments such as the four-stringed instrument, bamboo flute, and erhu play a major role in creating its local flavor.

• Rich Repertoire:
  The traditional repertoire of the Jianshui Flower Lantern includes over 30 pieces, such as “Beating the Flower Drum,” “Fishing,” “Straw Beating,” “Mending the Pot,” “Jade Fishing Bottle,” “Conqueror Descends the Mountain,” “Zhang San Kills the Sheep,” “Gambling Persuasion,” “Noisy Town,” “Old Jia Divorces His Wife,” and “Han Xiangzi Ferrying His Wife.” These pieces not only reflect the daily life and sentiments of the people but also express unique perspectives on love, labor, and social life.

Cultural Inheritance

• Historical Origins:
  The Jianshui Flower Lantern has been popular in local villages since the Ming and Qing dynasties. Lantern masters passed down traditional tunes and theatrical forms through generations, both through spontaneous folk performances and through systematic refinement and innovation. Specific rituals, such as the “Invitation of the Lantern God” held on the fifteenth day of the lunar month, underscore the lantern’s important role in local folk beliefs.Current Status of Inheritance:
  Today, the Jianshui Flower Lantern remains vibrant in rural communities and festive events. Many local performance troupes and cultural heritage practitioners continue to teach and pass on the art, ensuring that this traditional form remains a vital part of the region’s cultural heritage.

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Piying ( Shadow Puppetry) Making Skills in Tengchong City 腾冲市皮影制作技艺

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Motted copper-manufacturing, a traditional handicraft from Qujing City, Yunnan Province, is one of China’s national intangible cultural heritage items. The craft involves complex processes and highly specialized skills. When copper is mixed with other metals such as gold and silver, which do not fully merge, it creates unique, mottled patterns that result in motted copper. Artisans use this material to create objects, and after polishing, the natural effect of bright, colorful spots emerges on the dark bronze surface. Each item is unique, as no two mottled patterns are the same.

In June 2008, the Motted Copper-Manufacturing Skills were approved by the State Council of the People’s Republic of China and included in the second batch of national intangible cultural heritage items, under project number VIII-118.

Basic Information

• Chinese Name: 斑铜制作技艺 (Motted Copper-Manufacturing Skills)
• Heritage Number: VIII-118
• Region: Qujing City, Yunnan Province
• Approval Time: June 2008
• Heritage Type: Traditional Handicraft
• Intangible Cultural Heritage Level: National

Historical Origins

Yunnan has been renowned for its copper production since the pre-Qin period. During the Qin and Han dynasties, areas like Zhuti and Tanglang (now parts of Zhaotong City and Dongchuan District) produced copper items such as the “Zhuti Wash” and “Tanglang Wash,” which were highly regarded and traded far and wide. In the Ming Dynasty, artisans in Yunnan began using locally sourced natural motted copper ores, employing cold-forging methods to craft figurines, animals, and antique-style items like vases, cauldrons, stoves, and jars. This innovation paved the way for a new tradition in copper production.

Craft Characteristics

Motted copper is distinguished by its “raw spots” and “mature spots.” The raw spots are made from high-quality natural copper ores and are rare and valuable, producing stunningly bright, crystalline patterns that are lightweight and naturally colored. The mature spots, on the other hand, are made from industrial copper and involve a complex smelting and casting process. While the materials for mature spots are more abundant, the process still requires considerable skill.

Raw motted copper products have a polished, elegant appearance, with bright, crystalline patterns. The traditional colors are a deep cherry red or golden yellow base, with irregular metal-like patterns that shimmer in gold, creating a rich, complex visual effect. This intricate work has both high practical and ornamental value, and the items are often considered treasures. Motted copper items like incense burners, candlesticks, hot pots, cauldrons, boxes, vases, and various crafts are typically made using these techniques.

Motted copper items are crafted to perfection with unique, iridescent golden patterns. The natural beauty and artistry of the work are combined with an impressive reflection of light, creating objects that seem to glow with the brilliance of embedded gemstones. The beauty of these items is heightened by the techniques used in their creation, which showcase the blend of tradition, nature, and craftsmanship.

The patterning in motted copper is highly unique and based on various shapes such as irregular patterns, mosaic patterns, striped patterns, willow leaf patterns, granular patterns, and plum blossom patterns. These patterns may vary from ordinary to rare and exceptional designs. The origin of the patterns is still unclear, but they are largely unpredictable and add a level of surprise to the final product. The colors and the patterns of the motted copper are what make it so distinctive. Authentic motted copper features warm, saturated cherry-red hues, and golden patterns with a layered, intricate feel.

Crafting Process

The creation of motted copper involves multiple, intricate steps, requiring a high level of expertise. The process includes forging, shaping, burning, revealing, and exposing the spots, with the entire process taking two to three months to complete. One of the most critical stages, known as “burning spots” or “fire-seeding,” is both thrilling and precise. The process involves heating copper objects in carefully controlled charcoal fires. Too little heat results in poor crystallization, while too much heat risks ruining the piece.

The key steps in the production of raw motted copper are as follows:

1. Material Selection: The selection of high-quality natural copper is crucial. The size of the item being produced depends entirely on the size of the copper ore, and the quality of the copper affects the final result.
2. Purifying the Copper: Any impurities in the copper are removed using chisels or similar tools.
3. Initial Forging: The copper is hammered repeatedly to form the basic shape of the item.
4. Burning for Spot Formation: The copper is carefully heated in a kiln to allow the crystallization of metal spots. Temperature control is key to achieving the desired patterns.
5. Shaping the Item: The shaping process is repeated multiple times. Any imperfections discovered during shaping or burning might require starting over.
6. Spot Revealing: The most critical stage, where various plant-based solutions are used to reveal the golden spots on the copper surface.
7. Final Polishing: Once the item is shaped, it undergoes fine polishing and cleaning. To prevent oxidation, a protective coating is applied.

The entire process can take several weeks, and the final product often appears simple at first glance but is the result of painstaking craftsmanship.

Inheritance and Protection

Inheritance Value

The uniqueness of motted copper lies in its artful use of irregular, colorful patterns that no other metalworking technique can replicate. It is a true representation of the union between nature and human creativity, making it an important part of Chinese traditional craftsmanship.

Inheritor

Zhang Kekang, born in 1955 in Huize County, Yunnan Province, was selected as a representative inheritor of this national intangible cultural heritage in June 2009.

Protection Measures

Historically, the tradition of motted copper was passed down within families, often only to male heirs. After the founding of the People’s Republic of China, the Yunnan Provincial Handicraft Bureau gathered skilled artisans to scale up production. In 1978, Kunming Arts and Crafts Factory established a dedicated motted copper workshop, which was later converted into Kunming Motted Copper Factory in 1980. The workshop improved production methods and began creating modern items alongside traditional designs.

In November 2019, Qujing City Cultural Center was recognized as the protection unit for the Motted Copper-Manufacturing Skills by the National Intangible Cultural Heritage List.

Social Impact

Motted copper has earned domestic and international recognition for its artistry and value. In 1915, a motted copper item created by Zhang’s family, the “Red Copper Chrysanthemum Pot,” won a silver medal at the Panama-Pacific International Exposition in San Francisco, USA. Motted copper has since been displayed in significant national venues, including the Great Hall of the People in Beijing. It is also featured in various collections and served as national gifts to foreign heads of state.

In recognition of its cultural significance, Huize’s motted copper was chosen to produce the trophies for the Second Traditional Ethnic Sports Games of Yunnan Province.

Huize Motted Copper Manufacturing 技艺 Overview (会泽斑铜制作技艺)

Motted Copper manufacturing (会泽斑铜制作技艺) has been passed down through generations in Huize County (会泽县), Qujing City (曲靖市), Yunnan Province, for over 300 years. This technique gained international recognition when it won a silver medal at the Panama International Exposition in 1914. Since then, the products have been exported widely to countries including Japan, the United States, Australia, and Southeast Asia, earning a certain level of global reputation.

The key to the success of Motted Copper manufacturing lies in the selection of raw materials. The craftsmanship demands high-quality natural copper, particularly from Huize and Dongchuan (东川) areas, with a copper content of at least 10%. The production process begins with smelting the raw copper using chestnut charcoal, heating it until it becomes red and slightly white. Once this is achieved, the material is hand-forged and then manually polished and refined into the final product.

Crafting Process and Characteristics

The technique is known for its meticulous process, elegant shapes, and beautiful colors. The most popular items include incense burners, candlesticks, hot pots, tripods, boxes, bottles, and various other art pieces. The most iconic work of Huize Motted Copper is the Double Dragon Embrace Ear Vase (双龙抱耳瓶). Huize Motted Copper has even been chosen to create the trophies for the 2nd Traditional Ethnic Sports Games of Yunnan Province.

The craftsmanship, traditionally passed down from father to son and without written records, relies heavily on oral transmission. However, by the mid-20th century, the practice faced challenges due to limitations in raw material availability, the complexity of the process, and high costs. As a result, the technique became endangered, and today, only three workshops are still producing these items. Among them, the Zhang Kekang (张克康) family, which has been producing Motted Copper for 12 generations, is the most renowned. In 1999, Zhang Kekang was honored as a “Yunnan Provincial Folk Artist” by the Yunnan Provincial Department of Culture.

Kunming Motted Copper Manufacturing 技艺 (昆明斑铜制作技艺)

Kunming (昆明), the capital city of Yunnan Province, inherited the Motted Copper manufacturing technique from Huize and Dongchuan over 300 years ago. Similar to Huize, Kunming’s Motted Copper craftsmanship involves complex processes and rare materials. However, during the Republican era (1912–1949), synthetic Motted Copper, known as “mature spots” (熟斑), began to emerge. This variant is produced through a distinct smelting method and, although more abundant, lacks the brilliant luster of the raw copper version.

Motted Copper in Kunming’s History

In Kunming, the craftsmanship reached its peak during the early 20th century, particularly under the expertise of artisans like Wang Jixing from Baohonghao. The work of Li Changqing (栗长青) from Guanzhuang, who created statues of Guan Yu (关圣像) using a mix of purple copper, yellow copper, and white copper, became especially famous for its unique style.

Crafting Process and Modern Innovations

The process of Kunming Motted Copper involves over 10 steps, including the selection of materials, impurity removal, forging, molding, polishing, and the all-important burning and revealing of the distinctive spots. The craft traditionally passed through family lines, specifically from father to son, and after the establishment of the People’s Republic of China, it began to be organized into more standardized production.

In 1978, Kunming Arts and Crafts Factory (昆明市工艺美术厂) was established, which included a special workshop for Motted Copper. In 1980, this workshop was restructured as the Kunming Motted Copper Factory (昆明市斑银厂), where production methods were improved. Modern innovations combined traditional techniques with contemporary sculpture and advanced craftsmanship, resulting in a fusion of ancient Yunnan bronze culture and modern aesthetics.

Kunming’s Motted Copper products not only continue to follow the traditional forms but also explore modern themes, resulting in a diverse range of products. The pieces now incorporate minimalistic, elegant decorative patterns that enhance the unique Motted Copper features while ensuring artistic perfection and unity.

Representative Products and Recognition

Kunming’s Motted Copper products are known for their refined elegance and distinctive materials. They are considered rare and precious, gaining both domestic and international acclaim. Some notable works include the Bull-Tiger Panel, Peacock Vase, Surprised Deer, Elephant, Peacock King, Great Rhinoceros, and Incense Burner. These products have repeatedly won awards for excellence from the Ministry of Light Industry and local provincial and city governments. They have also been selected as national gifts for foreign heads of state and are highly prized in national collections.

The introduction of modern designs, along with an artistic approach that incorporates elements of traditional Yunnan bronze art, has allowed Kunming Motted Copper to gain recognition as an innovative and highly respected craft, both in China and abroad.

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The Silver-decorating Skill on Black Copper is a traditional craft from Shiping County (石屏县), Yunnan Province (云南省), and is recognized as a national intangible cultural heritage. The process involves complex steps, usually including nearly 20 stages, such as refining black copper, shaping, engraving patterns, applying silver, molding, polishing, and oxidizing to create a final piece.

In May 2011, the technique was included in the third batch of national intangible cultural heritage lists by the State Council of the People’s Republic of China, with project number VIII-195.

History and Origins

The Silver-decorating Skill on Black Copper is believed to have originated during the reign of the Yongzheng Emperor (雍正帝) (1723–1735) in the Qing Dynasty (清朝), nearly 300 years ago. It was first created by Yue Yong (岳勇) and his brothers, descendants of the famous anti-Jin general Yue Fei (岳飞), who lived in Yuejiawan Village (岳家湾村) in Shiping County. The technique was exclusively managed and passed down through the Yue family.

Legend has it that a Yue family copperworker accidentally dropped a gold ring into molten copper during the refining process. When he discovered the copper turned black like coal, he began engraving patterns on the copper surface and embedding silver pieces into it, thus creating the earliest form of Silver-decorating on Black Copper.

Decline

During the Republican era (民国时期), the Yue family operated a shop in Kunming’s Minsheng Street (昆明民生街), where they produced and sold silver-decorated copperware. However, due to a shortage of raw materials and other challenges, production gradually declined. By the time of the founding of the People’s Republic of China (中华人民共和国), rising gold prices and a lack of materials led to the closure of the craft, as even wealthy families were not interested in purchasing such expensive items.

Revival

In the 1960s (1960年代), the art of Silver-decorating on Black Copper nearly disappeared. The only remaining heir, Yue Zhongxiang (岳忠祥), was too old to revive the craft. In the early 1990s (1990年代), his daughter, Yue Lijuan (岳丽娟), made a strong commitment to revive the family art. She trained under her father’s guidance and, after years of hard work, developed her own formula to refine the copper. She meticulously engraved patterns such as plum, orchid, bamboo, chrysanthemum, peony, and lotus flowers on the copper, then “walked” silver into the grooves, successfully reviving the ancient craft.

Craft Features

The Silver-decorating on Black Copper technique is highly detailed, time-consuming, and requires precision in material selection. It involves first engraving intricate patterns into a copper alloy base. Then, molten silver is poured into the engraved grooves. Once cooled, the piece is polished, and it undergoes special oxidation treatment to turn the copper black, highlighting the contrasting silver patterns.

Common objects made using this technique include small items such as incense burners, flower vases, pen holders, smoking pipes, and more. Typical patterns often feature birds, fish, flowers, and mythical creatures.

Crafting Process

The Silver-decorating on Black Copper is a complex craft that requires mastery in metallurgy, engraving, calligraphy, painting, and micro-carving. Key tools include a bellows, furnace, hammers (large and small), pliers, and various sizes of chisels used for engraving patterns.

The process typically involves nearly 20 steps, with all work being done manually:

1. Refining Black Copper

In this step, gold and other metals are added to molten copper to create the black copper. This process is crucial, and the raw material formula is of great importance.

2. Casting and Forging Copper Plates

The molten black copper is cast into thin sheets, which are then hand-hammered to the required thickness. The sheets are then cut and welded into the basic shape of the intended object.

3. Engraving Patterns

Once the copper base is shaped, fine patterns are engraved using chisels. The depth of the engraving depends on the thickness of the copper.

4. Applying Silver

Molten silver is poured into the engraved grooves. Temperature control is critical, as the melting point of copper and silver is very close, with only a 130°C difference. If the temperature is not controlled properly, the copper may melt along with the silver.

5. Welding, Assembly, and Polishing

The various parts are welded together and polished using sandpaper and polishing stones to achieve a smooth finish.

6. Color Transformation

Before the color transformation, the piece retains the natural copper color. To turn it black, the craftsman repeatedly heats the object with their hands until it reaches a dark hue, or manually oxidizes it if necessary.

Heritage and Preservation

Heritage Value

Historically, Silver-decorating on Black Copper was renowned alongside Beijing’s cloisonné (景泰蓝), often referred to as “the two greatest copper arts of the North and South” (南北两大铜器艺术). The items produced are exquisite and finely crafted, often used as daily tools such as ink boxes, pen holders, wine vessels, and incense burners. They are considered valuable works of art and hold significant cultural, historical, and scientific research value.

Current Situation

In the 21st century, the traditional craftsmanship of Silver-decorating on Black Copper faces significant challenges due to modernization. The number of people skilled in this craft is dwindling, and the high cost of the materials and products has made it difficult to sustain the practice. The craft is primarily passed down within families, and the younger generation is often unwilling to learn due to the labor-intensive nature of the work and the expensive materials involved.

Key Figures in Preservation

Jin Yongcai (金永才), a Han Chinese born in 1953, was selected as a representative inheritor of this craft in May 2018 by the Ministry of Culture and Tourism (文化和旅游部). His work in Shiping County has helped preserve the technique.

Preservation Efforts

• In August 2010, the “Silver-decorating on Black Copper Heritage Hall” (乌铜走银传承馆) was opened in Guandu Ancient Town (官渡古镇), Kunming, with Jin Yongcai teaching apprentices.
• In June 2014, the Yunnan Provincial Craft Art Association (云南省工艺美术协会) established the Silver-decorating on Black Copper branch in Guandu Ancient Town’s Intangible Cultural Heritage Protection Center (官渡区非物质文化遗产保护中心).
• In November 2019, the YunYue WuYin Craft Co. Ltd. (云月乌银工艺有限公司) in Shiping County was recognized as a protection unit for the technique.

Social Impact

The Silver-decorating on Black Copper technique has gained recognition through various exhibitions and awards.

• In December 2016, it was showcased at the 11th Confucius Institute Conference (第十一届孔子学院大会), where artisans demonstrated the live craft process.
• In September 2018, it was featured at the 10th Zhejiang China Intangible Cultural Heritage Expo (第十届浙江中国非物质文化遗产博览会).

Awards

• 2010: The “Reversed Universe Wine Vessel” (逆宇酒器) won the Bronze Award at the 11th “Tiangong Art Garden – Hundred Flowers Cup” (天工艺术园百花杯).
• 2011: The “Four Seasons Peace Vase” (四季平安瓶) won the Silver Award at the 7th China (Shenzhen) International Cultural Industry Expo (第七届中国（深圳）国际文化产业博览会).
• 2011: The “Five Blessings Embracing Longevity Silver Copper Censer” (五福抱寿银铜香炉) won the Gold Award at the 12th “Tiangong Art Garden – Hundred Flowers Cup” (天工艺术园百花杯).

Si Tong Drum Dance in Zhangtong City  昭通市四筒鼓舞

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Overview of Dongjing Daoist Music

Dongjing Daoist Music, an ancient traditional genre of Chinese ritual music, originated in the Song Dynasty in Sichuan Province. It is now popular in the Sichuan, Yunnan Han regions, and among the Naxi (纳西族) and Yi (彝族) peoples in places such as Lijiang and Chuxiong.

• Chinese Name: 洞经音乐
• Heritage Level: National Level
• Approval Date: November 11, 2014
• Declared Region: Xichang, Sichuan Province
• Heritage Category: Folk Music
• Heritage ID: II-128

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Historical Origins

Dongjing Daoist Music, which has a long and rich history, involves a variety of musical instruments—both civil and martial—that produce elegant, simple, and classical music styles. The music is named after the Daoist scriptures “Wenchang Daodong Xianjing” (文昌大洞仙经), and it is associated with Daoist scriptures known as “Dongjing” (洞经), which are divided into three parts: Dongzhen, Dongxuan, and Dongshen. These scriptures are passed down by the Three Pure Ones, the central deities in Daoism.

The music originated in Pengxi County (蓬溪县), Sichuan Province, from the ancient Daoist silk and bamboo ensembles of the central plains. The founders of this music were Liu Ansheng and Wei Qi.

Key Figures in the Development of Dongjing Music:

• Liu Ansheng (刘安胜): A native of Pengxi County in Sichuan, Liu wrote the Wenchang Daodong Xianjing (文昌大洞仙经) in 1168, which became widely spread and became the foundation for Dongjing Daoist Music.
• Wei Qi (卫琪): A scholar from the Yuan Dynasty, Wei Qi was influential in interpreting Liu’s work and spreading Dongjing Music across regions. His Wenchang Daodong Xianjing Zhu (文昌大洞仙经注), presented to Emperor Wuzong of the Yuan dynasty in 1310, is considered a key text for the music’s development.

In 2014, Dongjing Daoist Music was included in the fourth batch of national intangible cultural heritage by the State Council of China.

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Artistic Features

Dongjing Daoist Music has undergone over 830 years of development since its creation in 1168. It has gone through various stages, including initial transmission, growth, peak, decline, and revival, adapting to social, religious, and economic changes over time.

Key Characteristics of the Music:

1. Musical Diversity: The number of pieces has significantly increased. At the beginning of the People’s Republic of China, there were over 2,000 pieces, and after thorough collection and sorting, there were over 1,500 works preserved.
2. Instruments: The music features an array of instruments including the zheng, pipa, flute, bells, drums, cymbals, and gongs.
3. Cultural and Spiritual Significance: The music is heavily influenced by Confucian and Daoist philosophies. Performers often come from scholarly backgrounds, and the music serves as a medium for spiritual pursuit, such as the quest for immortality and seeking blessings from the divine.

Types of Performances:

• Tanxiang (谈腔): This is a lyrical style performed with a band, typically focusing on singing Daoist hymns and praises.
• Songxiang (诵腔): A recitative style with simple, clear accompaniment, often using only a wooden fish or a bell.
• Duxiang (读腔): This style is more free-form and based on reciting texts, often with no musical accompaniment.

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Representative Works

The music includes a vast array of pieces that have been passed down through generations. Some representative works include:

• Dali Dongjing Ancient Music (大理洞经古乐): A 1990 publication containing 270 pieces such as Nanqing Gong (南清宫), Bei Pingzhou (北评洲), and Yuhua Yin (玉华音).
• Kunming Dongjing Music (昆明洞经乐曲): Comprising over 130 pieces, including Xuan Yun Zhou (玄蕴咒), Dao Shi Ling (道师令), and Yi Jiang Feng (一江风).
• Weishan Dongjing Music (巍山洞经音乐): Contains more than 100 works such as Bu Chan Gong (步蟾宫), Xiao Zhe Gu (小鹧鸪), and Shui Long Yin (水龙呤).

Each region may have its own distinct set of songs, tailored to local customs and practices.

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Cultural Significance

The performance of Dongjing Music is a key method of passing down Daoist culture. It not only preserves musical traditions but also embodies the spiritual essence of Daoism, integrating religious rituals with music and song.

In recent years, efforts have been made to revitalize Dongjing Daoist Music, taking it from traditional settings to modern stages. Today, it is performed in various cultural venues, helping bridge the gap between tradition and contemporary culture. This music has become a symbol of cultural heritage that continues to thrive across generations.

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Conservation and Protection

Dongjing Daoist Music has been actively preserved and protected by local cultural institutions. In February 2022, both the Yishala Tan Jing (迤沙拉谈经古乐) and the Qiongdu Dongjing Music (邛都洞经古乐) in Sichuan were listed as provincial-level intangible cultural heritage projects.

To ensure the continuity of the tradition, music groups such as the Pengxi Dongjing Music Research Association have been formed, focusing on gathering and preserving musical scores, and training new generations of performers.

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For more detailed information, you can visit the official website: Yunnan Intangible Cultural Heritage.