BEIJING, December 7, 2024 — Intangible cultural heritage, encompassing aspects from exquisite craftsmanship to traditional Chinese medicine and from solemn rituals to vibrant folk art, forms a crucial part of Chinese identity. Its essence has been passed down through generations. This Global Times series explores prominent Chinese traditions.

Located on Tianjin’s Ancient Cultural Street, a shop displays the Niren Zhang Family sign, drawing visitor attention.

Nearby, in a traditional courtyard, Zhang Yu, the sixth-generation inheritor of the nearly 200-year-old Clay Figure Zhang family, works in his workshop.

Originating during the Qing Dynasty’s Daoguang period (1644-1911), Clay Figure Zhang, renowned for its lifelike figurines and diverse themes, was recognized as a national intangible cultural heritage in 2006.

Zhang, in an exclusive interview with the Global Times, discussed the intricate processes and enduring prominence of this art form.

Delicate craft

Zhang, working on a life-sized Guan Yu statue, uses only two tools: a patting tool for shaping and a pressing tool for detailing.

He skillfully shapes the clay with these tools, creating the outline of Guan Yu in minutes.

This captivating technique attracts both domestic and international visitors.

Creating a figurine is a three-month process involving clay preparation, shaping, air drying, firing, and painting.

Facial coloring presents the biggest challenge, requiring 30 to 40 applications of color, with eyes needing over 100.

The artisan must expertly mix pigments, a skill crucial for passing down the craft.

Despite the effort, Zhang is dedicated to the art form’s quality.

Balancing tradition, innovation

Zhang emphasizes maintaining Clay Figure Zhang’s unique style, comparing it to “a pure flower,” without excessive innovation.

He believes preserving tradition is more challenging than pursuing innovation, highlighting the importance of dedicated traditional craft training.

To engage younger audiences, Zhang utilizes social media, art studios, and school courses.

He observes that young people prefer pure traditional art over fleeting, overly innovative styles.

However, he clarifies that preserving tradition doesn’t preclude change. The art form has evolved naturally, reflecting the spiritual climate of each era.

Clay Figure Zhang’s enduring appeal stems from societal acceptance and demand for its unique art.

Inheritance methods are diverse, encompassing school teaching and workshop training.

Zhang advocates expanding inheritance beyond family to a broader societal context.

He also discusses the influence of Western art, noting that apprentices’ exposure to it has enriched their creations.

Recalling Clay Figure Zhang’s past international success in Europe and Japan, Zhang hopes to revive its global commercial presence.

He envisions Clay Figure Zhang maintaining its craftsmanship integrity, unique style, and international standing.

Zhang expresses confidence in future development opportunities, thanks to national support for traditional crafts, allowing Clay Figure Zhang to once again showcase its charm internationally.

SOURCE Global Times