BEIJING, Dec. 7, 2024 /PRNewswire/ — From exquisite craftsmanship to traditional Chinese medicine, from solemn rituals to vibrant folk art, intangible cultural heritage weaves the tapestry of Chinese identity. For centuries, the essential elements of intangible cultural heritage have been passed down from master to apprentice, and from generation to generation. In this series, the Global Times culture desk will walk readers through China’s most renowned traditions.
Tucked away in the northeast corner of the Ancient Cultural Street along the Haihe River in North China’s Tianjin Municipality, a shop proudly displays the large plaque of Niren Zhang Family, or the Family of Clay Figure Zhang, attracting the attention of many visitors on the street.
Not far from the shop, within a courtyard styled after ancient architecture, is the workshop of Zhang Yu, the sixth-generation inheritor of Clay Figure Zhang, a household name of folk art in China with a history of nearly 200 years.
The time-honored Clay Figure Zhang, originated during the Emperor Daoguang period of the Qing Dynasty (1644-1911), was listed in the first group of national intangible cultural heritage in 2006 and is renowned for the depiction of a broad range of themes and their lifelike representation in its figurines.
But what complex processes go into creating these miniature sculptures? How has the valuable Chinese art of Clay Figure Zhang that passed down for six generations according to historical records, remained so prominent after 200 years? Zhang answered these questions in an exclusive interview with the Global Times.
Delicate craft
Zhang appeared from behind a pile of semi-finished clay figures, where he was working on a life-sized statue of Guan Yu, a revered historical figure in China.
He creates these detailed clay sculptures by only two tools: a patting tool and a pressing tool.
The patting tool is a rectangular board used to help shape the contours, while the pressing tool, similar to a brush, is used for finer detailing.
Placing the clay on the worktable, Zhang pats it with the patting tool, and after a few light and heavy pats, the outline of Guan Yu takes shape within minutes.
This brilliant folk technique captivates domestic and international visitors alike.
Due to the extremely delicate craft, it usually takes three months to complete the complex process of creating a figurine.
The craft includes various phases such as preparing the clay material, modeling the clay into certain shapes, airing the figurines, firing and painting them, Zhang explained.
“The most challenging part to color is the face,” Zhang says.
Clay Figure Zhang uses only ordinary brushes for coloring.
To achieve a lifelike effect on the figurines’ faces, it requires 30 to 40 applications of color. The eyes are even more complex, requiring more than 100 applications of color.
The coloring demands that the artisan mix pigments based on their experience, which has become a challenge in the process of passing on the craft through generations.
Despite the great effort that goes in creating the figurines, Zhang highly values the quality of his work, and devotes all his energy to this art form.
Balancing tradition, innovation
When asked about how he finds balance between traditional skills and modern technology, Zhang says that Clay Figure Zhang should maintain its uniqueness, like “a pure flower,” without the need for excessive innovation and development.
“Deliberate training in traditional crafts is not superfluous but an inherent characteristic of Chinese crafts,” said Zhang, who told the Global Times that he believes maintaining the traditional style is much more difficult than seeking innovation.
However, to promote Clay Figure Zhang to young people, Zhang has adopted various modern tools, including using social media accounts for online exposure and setting up art studios and courses in universities and middle schools.
“Young people nowadays prefer to learn pure traditional art rather than overly innovative and fleeting works of extravagance,” he noted.
But he further explained that keeping the tradition does not mean refusing to change. The works of Clay Figure Zhang have been adjusted with time.
Usually these adjustments were not deliberately made but naturally reflect the spiritual state of that era.
“The reason why Clay Figure Zhang has been able to remain relevant to this day is the continuous tolerance as well as the demand for this unique art form in Chinese society,” he added.
The inheritance methods of Clay Figure Zhang are diverse, including extensive teaching in schools and training young craftsmen in workshops.
“Family inheritance should not be the main method of inheritance, but should extend to a larger societal context,” he emphasizes.
Art has no borders. Zhang also talked about the influence of Western art on Clay Figure Zhang. He pointed out that many apprentices have also learnt about Western art and infused their creations with it.
Zhang noted that 100 years ago, the works of Clay Figure Zhang were sold in Europe and Japan at high prices. He expressed the hope that Clay Figure Zhang will be able to regain its commercial status in the international market and find its place in a variety of cultural circles.
Looking to the future, he envisions that Clay Figure Zhang will continue to uphold its integrity in craftsmanship, its unique style, and its place on the international cultural stage.
“Thanks to our country’s emphasis on traditional crafts, I am confident that Clay Figure Zhang will find new development opportunities and once again showcase its unique charm abroad,” Zhang said.
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SOURCE Global Times
