Are there any artists whose ancestry is from the Jiangmen area of Guangdong?

...... Inheritors of folk culture and art

Folk artists and intangible cultural heritage are closely linked. In recent years, Jiangmen City has carried out a census and declaration of intangible cultural heritage, and has counted about 120 intangible cultural heritages in Jiangmen City, among which 7 items such as Xinhui Kwai Art, Baisha Maolong Pen Making Skill, Xinhui Cai Li Fo Boxing, Kaiping Pancun Lantern Festival, Taishan Floating Stone Floating Colors, Lotus Sail Dragon, and Taishan Cantonese Music, etc., have become the intangible cultural heritages of the national level, and 10 items such as Heshan Lion Art and Lele Dragon Boat have become provincial intangible cultural heritage.

Behind these intangible cultural heritages, there are many folk artists who play the role of inheritors and "supporters", such as Li Yanyuan and Li Zanjun, the inheritors of the Lotus Dragon, Feng Kunjie, the inheritor of the Heshan lion art, Liao Huilin, the inheritor of the Xinhui Kwai art, Zhang Ruixing, the inheritor of the Baisa Maolong pen production technology, Zhao Ruchen, the inheritor of the Lile Dragon Boat, the inheritor of the Taishan pumice floating color, Zhao Ruchen, the inheritor of the Lile Dragon Boat, and so on. Zhao Ru Qian, Li Le Dragon Boat inheritor Deng Xikang, Pam Village Lantern Festival inheritor Kwong Kwok Keung and Kwong Chi Tsai, etc. are representative of provincial intangible cultural heritage projects, of which, Li Yan Yuan, Li Zanjun, Liao Huilin, Zhang Rui Heng, Zhao Ru Qian, Kwong Kwok Keung, Kwong Chi Tsai, etc., is currently declaring the national intangible cultural heritage projects representative of the inheritor.

Jiangmen City Bureau of Culture, Radio and Television said, national and provincial intangible cultural heritage projects representative bearer of intangible cultural heritage to master and carry the knowledge and exquisite skills, both intangible cultural heritage living treasure trove, but also intangible cultural heritage from generation to generation of representative figures. Selection of national and provincial intangible cultural heritage bearers is actually the most effective determination of the identity of these folk artists.

It is reported that Jiangmen City, folk artists are mainly distributed in acrobatics and athletics, folk art, traditional handicrafts, folk dance, folk music, music, folklore and so on, there are about hundreds of people, in particular, Li Yanyuan, Li Zanjun, Liao Huilin, Zhang Ruiheng, Zhao Ruqian, Kwong Kwok-keung, Kwong Chi Tsai, such as the provincial level intangible cultural heritage project representative of the inheritor of the most famous, in addition to the making of the new will be fish lights Li Yan and Zhong Songyou, and Liang Huazhao and Chen Honghuan, who sing salty water songs, are also well known because of media coverage.

Artists working in the countryside

Most of Jiangmen's folk artists are active in the countryside of Wuyi, where many of them are relatively old and generally poorly educated, and make their living mainly from farming and fishing, for whom folk art is "not a meal.

Pengjiang District, Hetang Town Huangwan Village, Li Yanyuan 69 years old, Li Zan are 56 years old, are Hetang sarong inheritors, education are elementary school, to farming for a living. In addition, 76-year-old Kwong Kwok-keung, 64-year-old Zhao Ruqian, 82-year-old Kwong Zhi Zai, etc. are living in Kaiping, Taishan and other places in the countryside, are also older, the education of elementary school, are farmers. Chen Honghuan is a middle-aged woman in Xinhui Dao, many years ago in the bird paradise singing salty water songs, but that, after all, can not bring her a lot of income, so her usual main business or farming, fishing. The reporter remembers a few years ago with her to the Xijiang River fishing clams, only to see the red aunt more than 50 kilograms of clams rake slowly into the water, the action is very skillful, and actually did not have a sound. Back home, she was busy cooking. When all the things are finished, Auntie Hong has time to sit down and sing us a few salty water songs, her son who is studying also sings a few lines, which Auntie Hong has taught him. When we left, Auntie Hong and her husband personally drove the boat to send us away, the reporter could not help but marvel at the folk artists living in the hot land of the overseas Chinese, just like this piece of land under their feet as simple, kind, love of life, love of art.

These folk artists, although not highly educated, but they are proficient, love of a folk art, in rural areas is definitely a multi-talented "cultural people", so that the village people respect, especially those who are older folk artists, the village to engage in cultural activities during the New Year's festivals is always less than him. Old folk artists for the enrichment of rural cultural activities have made outstanding contributions, can be said to be highly respected.

Huangwan Village is a natural village in Pengjiang District, Lotus Town, Lotus yarn dragon is the origin of the ancient folk art in Huangwan, the village of Li Yanyuan old man from the dance for 50 years, familiar with the performance of all the general action and difficult movements, in the heritage to teach the dance dragon head, familiar with the yarn dragon in all aspects of the production process, the original basis of continuous improvement, innovation, is currently trying to use stainless steel At present, he is trying to use stainless steel instead of bamboo and wood to make the dragon body, in order to make the dragon body more sturdy and durable. He has participated in many times in the lotus pond yarn dragon performance activities, such as the 1990 Macao Carnival cultural event, 2004 Qiaoxiang Carnival and Jiangmen Tourism Festival, 2005 Guangdong Province International Tourism Festival Folk Festival, etc., and won the praise of the audience.

Taishan City, Doushan Town, Fushi Village, Zhao Ru Qian old man since childhood to follow Zhao Zhonggao, Zhao Bingpei and other predecessors to learn the art, and now serves as an artistic director of the Fushi floating color team, is responsible for the training of female color boy skills, familiar with color cabinets and props production techniques as well as costumes, make-up, and other knowledge, set up the "Chang'e Runs to the Moon," "Zhaojun out of the plugging," "Mugui-ying hanging commander-in-chief" and so on, 10 color cabinets," Mainly want to float color to express the people's worship of former heroes." Zhao Ru Qian said. 1999, Fushi Village was named by the State Ministry of Culture as "China's ethnic folk art township - floating color of the township", Zhao Ru Qian old man credit.

Kaiping City, ShuiKou Township, Pancun Township, pond lips in the village of Kuang Zhi Zai, Kuang Guoqiang old man, in the 1950s to worship Kuang Riguang as a teacher to learn to tie lanterns, and then every year in the first month of the year are involved in tying lamps, so far has been tied to the 55 large lanterns, the village is one of the few will be tying lamps of the old masters, they tie Pancun Lanterns with materials, handmade fine, exquisite craftsmanship, with colorful paper cut into the pattern over a thousand kinds, the lamp skirt decoration is also affixed to a very good. Lamp skirt decoration is also pasted very carefully, different every year, more than 3 meters high finished lanterns brightly colored, very eye-catching, both momentum and very chic, the villagers were unanimously praised.

Toward the market of active explorers

Market economic conditions, people in the cultural life of the selective more and more, the mentality is also more and more fickle, folk artists still have no room for survival? Wang Changhuai, deputy director of the Jiangmen Art Museum, who has come into contact with a large number of folk artists during his tenure as deputy director of the city's arts museum, said, "In fact, some of the city's bold folk artists have already explored and innovated on the road to marketization." Lin Fujie, deputy director of the Xinhui District Culture, Radio and Television Bureau, agrees, "Development is the best protection."

The exhibition of Zhang Ruiheng's Maolong Pen Painting Art is currently on display at Baisha Shrine, where Zhang Ruiheng has said, "I wish more people would come to make brushes so that there would be an atmosphere." Zhang Ruiheng, who is now the director of the Gangzhou Painting Institute, began studying Maolong calligraphy in 1976. In the early 1990s, Zhang Ruiheng set up "Maolong Xuan" in Gangzhou Painting Academy to establish an exhibition hall of pen-making culture, promote the Maolong pen and create "Maolong National Painting Brush", which was awarded a bronze medal for the first Guangdong Folk Crafts Excellence. He studied the "Maolong Method" of painting and received guidance from Dr. Cui Deqi and Prof. Guan Shanyue. He has held exhibitions of Maolong brushes and their calligraphy and painting in Macao Cultural Square, Jiangmen Museum of Art, and St. Bourgois in Réunion, France, and has trained a number of talents in the production of brushes. "Zhang Ruiheng has both artistic talent and market vision, and is good at innovation. Through his own efforts, he has promoted both Mao Long Pen and his calligraphy and painting, which is a win-win situation and a very effective protection and development of intangible cultural heritage." Wang Changhuai commented.

The same is true for Wu Bingliang, who founded Wu's Xinglong Ming Furniture Art Company in Gongyi Town, Taishan City, and recruited a number of folk artists to create wood carvings under his guidance, and his own innovative design of Ming and Qing Dynasty art furniture, which has been collected by various major museums at home and abroad and has won prizes at various exhibitions, and has a higher visibility in the domestic market. "Our customers are people with high income level, high cultural level and certain appreciation ability, so we are not only making furniture, but also making culture." This is Wu Bingliang's positioning on the market.

Liao Huilin, general manager of Xinhui Sunflower Township Traditional Crafts Development Center, specializes in the inheritance, development and innovation of sunflower crafts, and quickly trained a class of young newcomers, Xinhui sunflower fans and sunflower crafts have also become a famous feature of Xinhui tourism products. Talking about innovation, Liao Huilin said: "the direction of the future development of the sunflower art is to gradually change from the partially practical crafts to the pure collection of crafts, which may be the only way out to let the sunflower art can be securely inherited."

The road to marketability for folk artists has not been smooth, and it has been full of ups and downs and hardships, as well as many difficulties and embarrassments. "Now the young people, think learning folk skills do not earn money do not want to learn, have to let them see the future of the market in order to attract them to come to learn, inheritance. Folk skills in the market for survival and development, just rely on our own strength, too weak, I hope that the relevant government departments can really pay attention to the market-oriented development of traditional handicrafts, to put the preferential measures into practice, more support for related enterprises." A folk artisan said earnestly to the reporter.

Keeper of intangible cultural heritage

Jiangmen City, folk artists are always passionate about folk art, regardless of their own economic conditions, have not given up the heart of that difficult to give up the love, but also many people also to their own positive action to protect the folk art, so that it is handed down, they are worthy of Jiangmen City, intangible cultural heritage of the most faithful keeper.

Chen Bo, the chairman of Jiangmen Literary Artists Association, who is a civil servant, storyteller and folk artist in one, does not seek fame and fortune and works quietly. He has assisted Mr. Chen Yifeng in the establishment of Wuyi Chinese Poetry Society, Longxi Poetry Society, Bamboo Garden Poetry Society and Jiangmen Couplets Society, etc., and he also goes deep into the folk and mingles with the folk artists to vigorously excavate and promote the local folk art treasures, and has left no stone unturned to preserve, protect and promote the inheritance of intangible cultural heritage of Wuyi area. He has spared no effort to protect and promote the inheritance of intangible cultural heritage in Wuyi. To Chen Bo's delight, in recent years, Jiangmen City's wood carvings, sunflower art, maolong pens, copper carvings, stone carvings, jade carvings and other folk crafts have stood out in large-scale exhibitions held in Guangdong Province, ranking among the top in Guangdong Province. "Our sunflower fan, thatched dragon pen and so on are very good handicrafts, Japanese people like it very much, the government departments concerned if you can further do a good job of publicity and promotion work would be good." Chen Bo is always thinking for the protection of intangible cultural heritage.

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