Artisans of the Clay Figure Zhang studio paint on a Year of the Horse sculpture in Tianjin in February. （SUN FANYUE/XINHUA）
The lively small clay figurines created for the Year of the Horse Spring Festival stand out among the traditional large sculptures of figures such as Guan Yu and Confucius at the Tianjin Clay Figure Zhang Studio in Dongli district, Tianjin.
While strictly adhering to traditional craftsmanship, Zhang Yu — a sixth-generation inheritor of Clay Figure Zhang, which was recognized as a National Intangible Cultural Heritage in 2006 — continues to explore new forms of expression.
Clay Figure Zhang is a world-renowned Chinese folk art from Tianjin that specializes in creating remarkably lifelike, hand-painted figurines made from specially treated canal clay. For over 200 years, the craft has been celebrated for its vivid realism, capturing everything from legendary heroes and theater characters to the intricate details of everyday life.
"Preserving authenticity doesn't mean clinging rigidly to the old ways. Our works, though traditional in appearance, must appeal to modern audiences as well," Zhang said.
In his commitment to preservation, Zhang has placed particular importance on staying true to tradition by strictly adhering to time-honored processes. He explained that creating a single clay figurine involves the complete experience of three major stages, which are sculpting, painting and firing, comprising a total of 18 meticulous steps.
The clay used is sourced from Tianjin's South Grand Canal, carefully selected and left to air-dry naturally for three years, then repeatedly kneaded to ensure optimal adhesiveness and breathability.
Crafting a figure begins with building its framework, layering clay incrementally, refining its contours and paying significant attention to intricate details like ears, which demand considerable practice to achieve precision.
Zhang attributes Clay Figure Zhang's enduring popularity across different periods to its strong connections to everyday life.
"The essence of creation lies in the life of common people or the portrayal of characters from the theater. Traditional culture is not an abstract concept — it's something that flows naturally in everyday life," he said.
Shen Lei, a member of the Standing Committee of the Communist Party of China Tianjin Committee and head of the publicity department of the city, regards the clay figurines as a prominent cultural emblem of Tianjin.
She said it is important to effectively preserve and advance the art form through systematic protection of intangible cultural heritage, fostering innovation with digital technologies, upgrading industries, and actively exploring new paths for integrating heritage with cultural creativity.
"Intangible cultural heritage shouldn't be isolated but proactive, allowing traditional crafts to continually shine with renewed brilliance and secure their place and market," Zhang said.
Within his Clay Figure Zhang studio, a modestly toned clay sculpture of early 20th-century writer Lu Xun stands in striking contrast to the vibrantly colored traditional character figurines nearby.
"While traditional figurines are vivid in color, I feel that earth tones better capture the depth and expression of a subject, aligning more closely with contemporary aesthetic preferences," Zhang said. His work distinctly emphasizes conveying human spirit through simplified yet evocative lines.
This spirit of exploration extends to multiple mediums. In a corner of the Clay Figure Zhang studio located in Tianjin's Ancient Culture Street, innovative cultural merchandise such as calendars, refrigerator magnets and stamp albums are displayed alongside clay figurines. These products help introduce younger audiences to Clay Figure Zhang as another gateway to appreciating the art.
Having started learning to sculpt clay figures at the age of 8, Zhang has spent most of his life in the workshop, dedicated to the inheritance and innovation of Clay Figure Zhang traditions.
"Our generation didn't grow up steeped in traditional culture, and our foundational skills are not flawless, but we can create pathways for the next generation," Zhang said.
In 2000, Zhang established a Clay Figure Zhang workshop in Tianjin's Economic-Technological Development Area, offering creative, educational and research opportunities.
Without requiring formal teacher-student relationships, the studio allows people from diverse backgrounds — ranging from Tianjin, Beijing, Hebei province, and even foreign students — to explore clay sculpture techniques in an open, vibrant setting.
Zhang said that many young people, initially fascinated by Clay Figure Zhang, often lose enthusiasm due to limited opportunities for growth, few exhibition chances and market reluctance to embrace works by lesser-known artists.
"This era calls for young creators to showcase their originality, their personal style, their unique identity and their imaginative ideas," Zhang said.
"I hope to leverage resources and experience to guide them through their formative years and encourage perseverance in developing their own styles," he added.
In addition to fostering aspiring artisans, Zhang emphasized the importance of nurturing interest in Clay Figure Zhang among young people. In 2014, he launched the"10,000 Young Clay Figure Zhang Inheritors" initiative, introducing the art to numerous elementary, middle and high schools. The program has engaged over 4,000 students to date.
In 2023, a campus tour featuring Clay Figure Zhang artworks began, bringing the art form to universities such as Tianjin University and Tongji University in Shanghai.
"Our goal isn't solely to cultivate artists but to inspire children to approach and appreciate traditional culture. With a stable and vibrant audience base, creators will naturally find greater opportunities to thrive," Zhang said.
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