The delicate and intricate wood carvings of insects, such as a beetle about to take flight, a mantis in motion, and a cocoon covered in fine hairs, embody the essence of traditional wood carving from Simao (思茅), Puer City (普洱市), Yunnan Province. These works, masterfully created with life-like precision, feature fine details such as the antennae of a woodcarver’s tools or the translucent patterns between insect wings. This wood carving craft, passed down through generations, is an important example of intangible cultural heritage.

The History and Development of Traditional Wood Carving

Simao’s traditional wood carving skills have a rich history. These techniques have also integrated elements of the diverse ethnic cultures in the region, which has contributed to the development of a unique folk art form. According to the Simao Ancient City records, between 1915 and 1920, during the peak of Simao’s commerce, many shops specializing in wood, silver, iron, and leather flourished. These shops catered to the needs of mule caravans and offered saddle frames, leather goods, and copper and iron products. Skilled woodworkers created furniture, palanquins, folding screens, and decorative carvings in their workshops.

The Process of Wood Carving

As described by Fei Yao (费遥), an inheritor of Simao’s traditional wood carving techniques, the process of creating a complete wood carving is time-consuming and labor-intensive. Each piece is a product of the sculptor’s craftsmanship and creativity. The carving process involves several steps, including composition, rough carving, fine detailing, polishing, decorative carving, coloring, glossing, and mounting or creating a display scene. The materials used are typically dense, hard woods that are resistant to deformation, and the tools required are numerous and varied.

In February 2023, Simao’s traditional wood carving techniques were included as a representative project of Puer City’s sixth batch of municipal-level intangible cultural heritage.

Cultural Significance and Innovation

Simao’s traditional wood carvings serve as an important cultural symbol, bearing the weight of history and reflecting the local people’s desire for a better life. These carvings also hold significant research value for the study of Simao’s history, craftsmanship, and cultural development. Today, Simao’s wood carvings are displayed at various provincial and municipal exhibitions. A 1:1 miniature wood carving of a Dai (傣) traditional stilt house has been collected by the Ethnic Culture Museum at Puer College, marking a new phase of creative transformation and innovative development in the art form.

In recent years, the Simao Cultural and Tourism Bureau has actively promoted the registration of traditional craftsmanship as intangible cultural heritage and has transformed outstanding heritage into high-quality tourist resources. This integration of heritage and tourism is intended to inject new vitality into the cultural and tourism industry of the region.

Puer’s Distinctive Woodcut Art: The Limited Edition Woodcut Prints

The Technique of Limited Edition Multi-Color Woodcuts

Limited edition multi-color woodcuts, a type of relief print, is a technique where multiple colors are applied to a single woodblock. According to Professor Ye Gongxian’s (叶公贤) book Basic Printmaking, the technique is described as follows: “Using the same block, several layers of color are printed by carving the block multiple times. The first step is to carve the lightest color, then print it. Afterward, a second layer is carved and printed, followed by a third. The result is a piece with three colors. The advantage of this method is that it reduces the need for multiple blocks, but the downside is that the block is destroyed after the final layer is printed, making the work a limited edition.”

In Puer, this technique became known as “destroyed plate prints,” as the plate is carved and printed until it is unusable. This unique feature distinguishes it from traditional multi-block color printing, where the blocks are preserved after use.

Artistic Evolution and International Influence

In the 1980s, as the limited edition woodcut technique was evolving, artists began to incorporate influences from other printmaking techniques, as well as from painting styles, which allowed for more innovative and expressive works. These artists embraced bold colors, primitive forms, and a strong sense of decoration, combining these with the local cultural heritage to create powerful, expressive artworks. This approach broke free from the traditional limitations of printmaking and shifted the art form closer to true painting.

Artists like Zheng Xu, He Kun, Wei Qicong, and Zhang Xiaochun not only drew inspiration from Western modern art movements like Expressionism and Primitivism but also infused their works with the local cultural context of Yunnan’s ethnic communities. Their works, which range from geometric patterns to abstract landscapes, have gained widespread recognition and have won numerous awards at national art exhibitions.

Zheng Xu’s work, Lahu Wind and Dye (拉祜风情·染) and Market Day (赶街天), which won a gold medal at the 1984 National Art Exhibition, exemplifies the artist’s ability to blend geometric patterns from Lahu (拉祜族) ethnic clothing with bold, contrasting colors. This combination represents not only the distinctiveness of Lahu culture but also the artist’s understanding of their cultural spirit.

Wei Qicong’s Village Scene (村寨), which won a gold medal at the 1987 National Art Exhibition, uses the structure of a stilt house in a Yunnan village as the central theme. The work transforms these geometric shapes into a rich composition of points, lines, and planes, creating an abstract yet powerful depiction of the landscape.

He Kun’s Autumn Song: Bleaching Land (秋歌·发白的土地) is another example of how limited edition woodcuts can evoke a sense of the land’s spirit. Using ink wash techniques and applying color in layers, He Kun’s work creates a visual texture reminiscent of oil painting, enhancing the abstract qualities of the scene.

Zhang Xiaochun’s early works, such as Evening Flute (晚笛) and The Final Comfort of Sacrifices (牺牲品最后的慰藉), integrate elements from the Wa (佤族) and Aini (爱伲族) cultures, using bright, bold colors and geometric shapes to depict both human and animal forms. His later works, such as Dust of the World (风尘), returned to the everyday life of ethnic communities in southern Yunnan, continuing the exploration of cultural and existential themes.

The Legacy of Puer’s Limited Edition Woodcut Art

Today, the limited edition woodcut technique has spread beyond Puer and is widely recognized by printmakers across China and around the world. This distinctive style, developed from the blending of traditional methods with modern artistic thought, has become an integral part of modern Chinese printmaking. The impact of this unique regional style continues to be felt, as younger generations of artists continue to explore and refine the technique.

At present, the legacy of Puer’s limited edition woodcut technique is carried on by a new generation of artists who are both inheriting the methods of their predecessors and pushing the boundaries of this unique art form. Institutions such as Puer College have become centers for artistic education, while numerous private studios continue to innovate and push the boundaries of limited edition woodcut prints.

This dynamic, multi-faceted evolution of Puer’s woodcut art is a testament to its enduring cultural significance and its capacity to adapt and thrive in contemporary artistic contexts. As such, it remains a unique and valuable cultural resource for both artistic expression and regional heritage.