Qi Zheng

Porcelain carving is a craft in which a diamond or a tungsten steel cutter is used to carve a variety of beautiful patterns and inscriptions on the surface of porcelain, which is then fired under high temperatures. Unique carving techniques produce landscapes, characters, insects, animals, and even calligraphy. Impressing artistic circles, practitioners of porcelain carving have recently favoured black porcelain. The black colour of the material accentuates the contrast between light and shade, and delicately articulates different layers on three-dimensional surfaces.

Qi Zheng prefers to utilize discerning black porcelain as her raw material. Her works convey a natural and exquisite quality, shaped by her innovative cutting skills. In 1996, she was honoured with the title ‘National Folk and Crafts Artist’ by UNESCO and the China Folk Artists Association. She also organised her own porcelain-carving exhibition in the National Contemporary Art Museum of China and has conducted cultural exchanges overseas..

Qi Xiuhua

GAOMI PAPER-CUTTINGS
08 / 02 ~ 27 / 02
2011

Since the reign of Emperor Hongwu of the Ming Dynasty, Gaomi Paper-Cuttings—famous for their strong and clearly defined lines—have gradually established themselves as a significant art form. Blossoming during the Qing Dynasty, Gaomi Paper-Cutting embraces a wide range of themes, and is regarded as one of the ‘Four Treasures” of Gaomi City in Shandong Province. The craft is also included in the National Preservation Scheme of Intangible Cultural Heritage.

Qi Xiuhua, a representative of the Intangible Cultural Heritage at the provincial level, founded the Qi Xiuhua Paper-Cutting Research Institute. Highly acclaimed, her works earned her the honour of being named ‘Outstanding Inheritor of Chinese Folk Culture’ of Shandong Province in 2007. In 2009, Qi was additionally recognised as an ‘Arts and Crafts Master’ at the provincial level. Her work “Golden Ox Jumping on Hoof” was featured on the 1997 Chinese zodiac commemorative stamp issued by the China Post.

Su Haimin

ZISHA POTTERY
01/ 03 ~20/03
2011

Originally from Langzhuang Village, located in Beiguantao Town in Guan County, Shandong Province, the distinctive Langzhuang dough figurine sculptures are locally known as ‘dough tigers’. As a prototype of dough modelling art in the northwestern region of Shandong, these sculptures are rich in cultural context. Langzhuang dough figurine sculptures are moulded in semi-relief style. After steaming, the dough models expand and showcase their unique kind of beauty. In addition, the use of contrasting colours makes the steamed dough figurine sculptures vividly come to life.

Su Haimin belongs to a new generation of Langzhuang dough figurine artisans. Her figurines are simple and vigorous, yet deliberately exaggerated. Su learned the art of dough modelling from Lang Xiucai, and in 2010 participated in the Shandong Activity Week of the Shanghai World Expo and the first China National Intangible Cultural Heritage Expo. She was warmly welcomed and enthusiastically acclaimed in both events.

Liu Aiyu

LU BROCADE
01 / 03 ~ 20 / 03
2011

Lu Brocade is commonly known as a specific type of jacquard fabric that is manually woven from pure cotton. This folk textile, distinctive to southwest Shandong Province, is named after its blooming colours, which are skilfully woven into refined patterns. These exquisite and quaint patterns are brilliantly coloured, finely woven and very durable. The weaving technique is extremely complicated, allowing imagination and craftsmanship to produce an extraordinary variety of bright and appealing patterns. In 2008, this weaving technique was inscribed on the list of National Intangible Cultural Heritage.

Highly proficient in various weaving methods, Liu Aiyu constantly explores new and innovative techniques that allow her to transcend the original models. Liu participated in the Exhibition of Chinese Intangible Cultural Heritage & Traditional Folk Crafts in 2009, and in the first China National Intangible Cultural Heritage Expo in 2010.

Zhang Guoqing

LONGSHAN BLACK POTTERY
22 / 03 ~ 10 / 04
2011

Shandong Longshan Culture has its origins in the late Neolithic Age, dating back to more than 4000 years.

Since many of the excavated archaeological relics are black pottery, Longshan Culture is commonly referred to as ‘Black Pottery Culture’. The carbonisation method employed during the process of firing the pottery produces characteristic ‘dark, thin and shiny artefacts with a clear and melodious sound’. This ‘eggshell black pottery’ - a type of pottery with a thin wall and a glossy black finish– embodies the essence and outstanding achievements of Longshan Black Pottery.

Based on the experiences of his predecessor and information gathered from excavated relics, Zhang Guoqing expertly restored an eggshell pottery cup originally made during the Longshan Era. In July 2007, Zhang was honoured with the title ‘Arts and Crafts Master of Shandong Province’.

Gan Zhiyao

FULI CLAY POTTERY
22/03 ~ 10 /04
2011

Shandong clay pottery is categorised according to its function in rituals, appreciation, daily necessities and value. Altogether, 39 kinds of clay pottery were discovered in Fuli Village (Xiji Town), Shanting District, in Shandong Province. Based on these discoveries in the village and in tombs from the Han, Tang, Ming and Qing dynasties, the history of clay pottery production dates back to more than 6000 years. Clay pottery fashioned by primitive societies in the Neolithic Age bears a strong resemblance to the clay ware produced during the Han dynasty, suggesting that they absorbed the artistic conceptions of the Ming and Qing dynasties as well.

Since 1978, Gan Zhiyao has dedicated his life to the excavation, sorting and restoration of folk clay pottery in Fuli Village. He is the director of the Fuli Clay Pottery Art Research Institute—an institution he founded—and oversees the excavation, research and inheritance work of Fuli clay pottery. In 1995, Gan was honoured with the title ‘National Folk Arts & Crafts Artist’ by UNESCO.

Li Yucheng

GOURD CARVING
12 /04~24/04
2011

Originating in Dongchang District, Liaocheng City in Shandong Province, gourd carving is considered a National Intangible Cultural Heritage. Carvings are classified into two main categories according to function – appreciation and practical use. Gourds for appreciation sport patterns including drama characters, flowers and birds in flat or openwork engravings and embossments. Practical applications include wine gourds, medicine gourds, gourd tea-sets, tableware and penholders.

Li Yucheng is an heir of the Intangible Cultural Heritage of Shandong Province. Li’s engravings are highly acclaimed for his use of smooth and natural lines in simple yet lively designs, and his rich themes. His engraving techniques gradually developed from single engravings to the combined use of pyrographs, carving and incision. Similarly, instead of relying on a single black colour, he presently employs multiple colours, thereby significantly enriching the presentation as well as the charm of his gourd carvings.

Kong Fanbiao

CONFUCIAN KAI WOOD CARVING
12/ 04 ~ 24 / 04
2011

The hometown of Confucius, Qufu City in Shandong Province, boasts a rich cultural heritage. Confucian Kai Wood Carving has an extended history and embodies the Confucian ideas of ‘virtue, righteousness, rite, wisdom and integrity’. The primary materials of for Kai Wood carvings are cane and ruyi. The Kai tree is a very rare species which can grow for over a thousand years. This tree produces hard but refined wood, with a beautiful golden colour. Thus, the tree is also known as ‘Soft Gold’ and variously called ‘Sandalwood’ in the South and ‘Kai’ in the North.

Kong Fanbiao is the fifth direct-line inheritor of Qufu Kai Wood Carving and a successor of Kai Wood Carving. Kong’s works are meticulously crafted and engraved with love and affection. After long and devoted study, Kong now practices four types of engraving techniques—round engraving, relief engraving, openwork engraving and incision—drawing together a strong sense of cultural heritage.