Cheng Lin is recognized as a representative inheritor of the tinware making technique—specifically the Shifan hand-carving technique—in Gejiu City, Honghe Prefecture, Yunnan Province. His mastery of this intricate craft preserves an ancient tradition that combines metalworking with detailed hand-carving skills, reflecting a deep cultural legacy.

Key Aspects and Cultural Significance

• Exquisite Craftsmanship:
  Cheng Lin expertly applies the Shifan hand-carving technique to tinware, resulting in pieces that showcase fine details, artistic precision, and an elegant design. His work exemplifies the refined skills that have been honed and passed down through generations.

• Cultural Preservation:
  By mastering and demonstrating this traditional art form, Cheng Lin plays a crucial role in maintaining the unique heritage of Gejiu’s tinware production. His dedication ensures that the time-honored techniques and cultural narratives embedded in these crafts continue to be celebrated and transmitted to future generations.

• Local Impact:
  The preservation of this traditional craft not only enriches the cultural identity of Gejiu City and Honghe Prefecture but also contributes to local tourism and economic development. Cheng Lin’s work helps raise awareness of Yunnan’s rich artisanal heritage and inspires both local artisans and cultural enthusiasts.

Conclusion

Through his skillful artistry and commitment to traditional techniques, Cheng Lin safeguards the Shifan hand-carving method in tinware production. His work stands as a testament to the enduring value of cultural heritage in Gejiu City and serves as an inspiration for future generations to embrace and continue these traditional arts.

Li Jun is recognized as a representative inheritor of the tinware production technique, specifically the Shifan hand-carving method, in Gejiu City, Honghe Prefecture, Yunnan Province. His work plays a vital role in preserving this traditional craft and showcasing the rich cultural heritage of the region.

Key Aspects and Cultural Significance

• Exquisite Craftsmanship:
  Li Jun has mastered the Shifan hand-carving technique applied to tinware production. His meticulous carving and attention to detail result in pieces that are not only functional but also exhibit artistic beauty and cultural symbolism.

• Cultural Preservation:
  As a representative inheritor, Li Jun is dedicated to maintaining and transmitting the traditional methods that have been passed down through generations. His work ensures that this unique art form remains vibrant and continues to reflect the historical and cultural narratives of Gejiu City.

• Local Impact:
  Through his exceptional craftsmanship, Li Jun contributes to local cultural pride and the promotion of traditional arts. His work helps to attract cultural enthusiasts and tourists, thereby supporting the regional economy and furthering community engagement with their heritage.

Li Jun’s expertise in the Shifan hand-carving technique exemplifies the enduring legacy of Gejiu’s tinware making traditions. By preserving and advancing this art form, he not only safeguards an important piece of cultural heritage but also inspires future generations to appreciate and continue the practice of traditional craftsmanship in Honghe Prefecture.

Li Liuhong – Representative Inheritor of Copper Wares-making Skill Project in Luoping County, Qujing 

曲靖市罗平县富乐镇铜器制作技艺项目代表性传承人 -李六洪

http://www.ynich.cn/view-ml-13111-3121.html

Chen Shenhua – Representative Inheritor of Huadeng Opera Project in Yuanmou County, Chuxiong 

楚雄彝族自治州元谋县大学庄村花灯项目代表性传承人 – 陈申华

http://www.ynich.cn/view-ml-13111-3086.html 

Zan Fangcai  – Representative Inheritor of Huadeng Opera Project in Yao’an County, Chuxiong 

楚雄州姚安县栋川镇花灯项目代表性传承人- 昝方才

http://www.ynich.cn/view-ml-13111-3087.html

Wang Qingchang – Representative Inheritor of  “Shaxi” Drama Project in Jingdong County, Puer 

普洱市景东县花山乡杀戏项目代表性传承人  -王庆昌

http://www.ynich.cn/view-ml-13111-3091.html

Background and Heritage

Tian Yongguang (田永光), male, of Han (汉族) ethnicity, was born in 1941 in Huize County (会泽县), Qujing City (曲靖市). He is a provincial-level representative inheritor of the intangible cultural heritage project of Dongjing Music (洞经音乐) in Huize (会泽).

Learning and Inheritance

Tian Yongguang (田永光) has a solid background in literary and artistic work and is passionate about folk arts. After retiring in 2000, he founded the Tanglang Dongjing Ancient Music Ensemble (堂琅洞经古乐团) in Huize County (会泽县) and served as its leader. Through his dedicated efforts, the ensemble gradually developed into a well-organized senior cultural group with a stable team, regular practice venue, funding, complete facilities, and consistent performance activities.

Artistic Characteristics

Huize Dongjing Music (会泽洞经音乐), also known as Tanglang Ancient Music (堂琅古乐), was originally introduced from the Central Plains as Taoist music. With the development of Huize’s copper merchant culture and temple society, it evolved into a form of ancient music that integrates Confucian, Buddhist, and Taoist musical elements with a distinctive local flavor. This music is known for its elegance, tranquility, and clarity. It retains the solemn, ancient, and serene artistic conception of Dongjing music, absorbs the refinement of court music, and blends in the melodious silk and bamboo music of Hanqu from Jiangnan, as well as elements of Dian Opera (滇剧) and local folk music.

Inheritance and Preservation

Fully aware of the cultural value and heritage significance of Dongjing Music (洞经音乐), Tian Yongguang (田永光) has actively participated in its preservation. He led his team to collect and organize 19 pieces of Dongjing Music, personally taking part in over 500 performances for social events, meetings, and receptions, reaching over 5,000 audience members both domestic and international. His work has helped preserve and promote this traditional art form, which carries moral and cultural significance.

Tian Yongguang (田永光) holds considerable influence and appeal in the local community. He treats the transmission of Dongjing Music (洞经音乐) as a lifelong mission, continuously striving to create favorable conditions for the continuation and development of this collective performance art.

In 2006, Huize Dongjing Music (会泽洞经音乐) was included in the first batch of provincial-level intangible cultural heritage lists by the People’s Government of Yunnan Province (云南省人民政府).

Unique Playing Techniques of Huize Dongjing Music

1. Melodic Singing and Recitation

• Talk Singing (Tánqiāng): This is a highly expressive vocal technique used to sing the rhymed verses in the scriptures. It is characterized by its lyrical and emotional nature. The melodies are often complex and rich, with a wide range of pitches and dynamics.
• Recitation Singing (Sòngqiāng): This technique is more narrative in nature, used for reciting the scriptures in a rhythmic and melodic way. It often involves a combination of singing and speaking, with a focus on clarity and expression.

2. Instrumental Techniques

• Blow and Strike Instruments: The use of blow and strike instruments, such as the bamboo flute and the wooden fish (mùyú), adds a rhythmic foundation to the music. The bamboo flute is played with a unique embouchure technique that produces a clear and resonant sound.
• String and Percussion Instruments: Instruments like the pipa (a four-stringed lute) and the guzheng (a large Chinese zither) are used to create intricate melodies and harmonies. The pipa is played with a combination of plucking and finger techniques, while the guzheng is known for its sliding and vibrato techniques.

3. Ensemble Coordination

• Unified Performance: The ensemble performance of Huize Dongjing music is characterized by its high level of coordination and synchronization. The musicians, often dressed in traditional attire, perform in a unified and respectful manner, reflecting the solemn nature of the music.
• Lead Singer and Harmony: The performance typically begins with a lead singer (lǐngquāng shēng) who sets the tone and melody. The rest of the ensemble follows, creating a harmonious and layered sound.

4. Cultural and Religious Context

• Scripture Singing: The music is deeply rooted in religious and cultural practices, often performed during rituals and ceremonies. The singing of scriptures is an integral part of the performance, with each piece having a specific religious or cultural significance.
• Incorporation of Local Elements: The music incorporates elements from local folk music, such as the use of local instruments and musical motifs. This blend of traditional and local elements gives Huize Dongjing music its unique regional flavor.

For Chinese version please go to:
http://www.ynich.cn/view-ml-13111-3046.html

Background and Heritage

Zhang Jiaxun (张家训), male, of Han (汉族) ethnicity, was born in 1939 in Xiushan Town (秀山镇), Tonghai County (通海县), Yuxi City (玉溪市). He is a provincial-level representative inheritor of the intangible cultural heritage project of Dongjing Music (洞经音乐).

Learning and Inheritance

Born into a family with a long tradition of Dongjing Music (洞经音乐), Zhang Jiaxun (张家训) began learning the art form in childhood from his grandfather, parents, and uncles, who were founders of the Miaoshanxue Women’s Dongjing Music Ensemble (妙善学女子洞经会). He not only mastered the performance of Dongjing Music but also made significant contributions to its inheritance and development.

Artistic Characteristics

Dongjing Music in Tonghai (通海洞经音乐), also known as Miaoshanxue Women’s Dongjing Music (妙善学女子洞经音乐), is a traditional music form with deep cultural roots. Originally a type of Taoist ritual music, it is named after its main content — the chanting of scriptures from The Great Cavern Immortal Scripture (《大洞仙经》). The Miaoshanxue Women’s Dongjing Ensemble in Tonghai was founded in 1943 and consisted of 18 young women who broke free from feudal norms to learn and perform multiple musical pieces.

Inheritance and Preservation

Zhang Jiaxun (张家训) fully recognizes the cultural value and importance of preserving Dongjing Music (洞经音乐). He has been actively involved in safeguarding this intangible heritage by organizing and participating in cultural events, helping more people understand and appreciate this traditional art. Thanks to the efforts of Zhang and other inheritors, Dongjing Music in Tonghai was included in the National Intangible Cultural Heritage List in 2008.

As a bearer of Dongjing Music, Zhang Jiaxun (张家训) has not only achieved mastery in the art but also made a profound impact in preserving and promoting this cultural heritage.

Zhang Jiaxun’s Unique Perspectives on Dongjing Music

1. Inheritance and Development of Dongjing Music

Zhang Jiaxun (张家训) believes that the inheritance of Dongjing Music (洞经音乐) is crucial. He not only excels in performance but is also committed to cultivating the next generation of inheritors. By organizing and participating in cultural activities, he brings greater public awareness to this art form. He has also introduced innovations to the traditional large ensemble style of Tonghai Dongjing Music, achieving promising results.

2. Cultural Value of Dongjing Music

Zhang sees Dongjing Music as more than just musical art; he views it as a significant carrier of cultural transmission. He emphasizes its role in promoting social harmony, believing that through performance and inheritance, Dongjing Music encourages people to reject wrongdoing and embrace virtue.

3. Artistic Characteristics of Dongjing Music

According to Zhang Jiaxun (张家训), Tonghai Dongjing Music (通海洞经音乐) embodies the qualities of harmony, serenity, elegance, and ease. It is a comprehensive art form integrating chanting, singing, instrumental performance, rituals, and ceremony. It retains the charm of Jiangnan, the style of Sichuan and Shaanxi, and the musical tones of both southern and northern traditions, while also incorporating local ethnic and folk musical elements from Tonghai.

4. Innovation and Integration in Dongjing Music

While upholding tradition, Zhang also values innovation. He has compiled local cultural anthologies such as Dongjing Music of Tonghai (《通海洞经音乐》) and Traditional Culture of Tonghai (《通海传统文化》), contributing to the dissemination and development of the art. He has also explored integrating Dongjing Music with modern musical elements to better suit contemporary aesthetic preferences.

5. Social Function of Dongjing Music

Zhang believes that Dongjing Music plays a role in fostering social harmony. It serves not only as a spiritual and emotional cultivation ritual but also as a moral guidance tool that encourages people to improve their character and conduct good deeds. Historically, this music form has been regarded as a vital means of social education.

Through these insights, Zhang Jiaxun (张家训) has made outstanding contributions not only in his technical skills but also in the preservation and promotion of Dongjing Music (洞经音乐) as an intangible cultural heritage.

For Chinese version please go to:
http://www.ynich.cn/view-ml-13111-3047.html

Pu Neng – Inheritor of “Yanglaogu Dance” in Lufeng County, Chuxiong 

楚雄州禄丰县腰站乡“羊老鼓舞”传承人 – 普能

http://www.ynich.cn/view-ml-13111-2939.html

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http://www.ynich.cn/view-ml-13111-2752.html

Bai Guangzhong – Craftsman of Wood Carving and Stone Carving in Changning County, Baoshan 

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http://www.ynich.cn/view-ml-13111-2751.html

Wu Shuqin – Bamboo-weaving Craftswoman in Shidian County, Baoshan 

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http://www.ynich.cn/view-ml-13111-2750.html

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