Tai’an city in east China’s Shandong Province is home to a rich array of intangible cultural heritage items, reflecting the wisdom and dedication of generations of artisans. Today, while preserving these cultural treasures, they are also finding new ways to breathe life into them.
Revitalizing dough sculpture
Shi Hongling is the 7th-generation inheritor of Taishan Shi’s dough sculpture, a provincial-level intangible cultural heritage in Shandong. According to Shi, dough sculptures used to be no bigger than a finger and were simple toys for children. Today, they come in various sizes and are valued as collectible works of art.
Photo shows a Taishan Shi’s dough sculpture. (Photo courtesy of the interviewee)
The charm of Shi’s dough sculptures lies in their lifelike expressions and profound artistic meaning. The form is shaped through kneading, rolling, pressing, and twisting, while the spirit is brought to life through cutting, dotting, pinching, and carving.
Shi Hongling works on a dough sculpture. (Photo courtesy of the interviewee)
As the youngest daughter of the family, Shi grew up immersed in the artistic atmosphere of her elders, naturally developing exceptional skills. However, her deep artistic ambition made her dissatisfied with the rough style and limited color scheme of traditional dough sculptures.
Determined to push the boundaries, she began experimenting with dough formulas, color blending, and sculpting techniques. Her skills took a leap forward after studying under a renowned Tianjin dough sculpture artist.
Photo shows a Taishan Shi’s dough sculpture. (Photo courtesy of the interviewee)
Shi has worked tirelessly to bring Taishan dough sculptures to a wider audience. She joined forces with fellow artists to establish the Taishan dough sculpture culture and art research institute, aimed at training new talent. She also showcases her work at temple fairs, in communities, and in classrooms.
Man devoted to carrying forward Dongyuan filigree-inlaid pastel enameling
Photo shows gourds decorated with filigree inlay and pastel enameling. (Photo courtesy of the interviewee)
Dongyuan filigree-inlaid pastel enameling is evolved from the Chinese cloisonn肁9 technique, which dates back to the Ming and Qing dynasties (1368-1911).
The craft involves first shaping fine flat copper wires into intricate patterns, which are then carefully affixed to the surface of an object. Next, artisans skillfully fill the spaces between the wires with enamel glaze. Finished works range from gourd-shaped ornaments to porcelain plates and can be customized to meet different needs. This traditional craft has been officially recognized as a municipal-level intangible cultural heritage in Tai’an.
Ma Zhonghua works on a piece of Dongyuan filigree-inlaid pastel enameling work. (Photo courtesy of the interviewee)
Ma Zhonghua, 58 years old, is a 5th-generation inheritor of Dongyuan filigree-inlaid pastel enameling. The craft has been deeply etched in his memory since childhood.
"My great-grandfather learned cloisonn肁9-making techniques in Beijing and Tianjin, then combined them with local elements from Dongping to gradually develop a unique style of decorative art," said Ma. Out of a love for filigree-inlaid pastel enameling, Ma majored in fine arts at university and briefly worked at an enamel factory in Beijing.
Ma said Dongyuan filigree-inlaid pastel enameling is an exceptionally intricate craft that combines elements of traditional Chinese painting, oil painting, woodblock painting, paper cutting, and carving. Even a seemingly small piece can take three to four days, or longer, to complete.
To ensure the craft is better inherited, he founded companies such as the Shandong Maliang Cultural Development Co., Ltd. and Tai’an Jiatian Arts & Crafts Co., Ltd., developing more than 10 types of creative cultural products inspired by intangible heritage. Some of his works are now sold overseas through e-commerce platforms, earning wide recognition in international markets.
Inheritor shows beauty of Dawenkou lacework making to wider audience
Tang Binjie, a 4th-generation inheritor of the Dawenkou lacework making craft, is carefully selecting materials from a pile for a new lace umbrella.
Tang Binjie showcases lace umbrellas. (Photo/Zhang Wenning)
Originating from Shandong embroidery, the Dawenkou lacework making craft is a representative form of traditional Chinese textile craftsmanship. According to Tang, the technique involves using materials such as cotton, linen, and silk thread to create decorative and lace umbrellas through a combination of embroidery and weaving.
With advances in technology, some around Tang have suggested introducing more machines to assist in producing lace umbrellas and fans. "A machine can produce hundreds of pieces a day with good precision, which is far faster than handcrafting," they said.
But Tang thinks otherwise. "No matter how efficient, a machine lacks soul. As a lacework artisan, I pour emotion into every piece. Each pattern must be vivid and lifelike, and this is something no machine can replicate," he said.
"Every stitch carries our heritage. I use thread like paper and a needle like a pen鈥攏ot just to pass down the thousand-year-old Dawenkou lacework making craft to future generations, but also to keep its culture alive through the hands of every artisan," said Tang. What gives him the greatest joy is seeing more young people embracing the beauty of this traditional lace.
原文地址：http://en.people.cn/n3/2025/0708/c98649-20337439.html