Discover the Authentic Beauty of Mount Wuyi
Nanping Tea Culture Week in Australia
Nanping City, as one of the key birthplaces of Chinese tea culture, is rich in tourism resources and steeped in cultural heritage. “Wuyi Shanshui in Sydney” Tourism and Tea Culture Week of Nanping aims to present the city’s unique urban landscape, the natural beauty of Wuyi Danxia landform, its ancient tea culture, and traditional intangible cultural heritage through a variety of engaging displays. This event invites Australians to embark on a journey to gain a firsthand experience of the enchanting allure of Chinese tea culture and Wuyi traditions.
Nanping-China
Nanping City is located in northern Fujian Province, China, also known as “Minbei”area, or the northern section of Fujian. With a total population of 3.14 million and an area of 26,300 square kilometers, it is the largest prefecture-level city in Fujian, accounting for 21% of the province’s total area.
Nanping is a green treasure, renowned for its picturesque landscape characterized by “green mountains encircling the city, with clear waters meandering through.” The city boasts a forest coverage rate of 78.89%, with all major rivers maintaining excellent water quality. For six consecutive years, Nanping has led the province in air quality, with negative oxygen ion concentrations reaching up to 138,000 per cubic centimeter. Abundant in ecological resources, Nanping leads in the grain production across the province and its farmland and forested areas account for one-quarter of the province’s total. This abundance has earned Nanping the titles of “Fujian’s Granary”, “Forest Sea of Southern China”, and “A Famous Bamboo Town of China”.
Introduction
Nanping is a cultural highland with a rich historical legacy. It is one of the earliest developed regions in southern China, with all ten of its counties (cities, districts) having been established for over a millennium. During the Ming and Qing dynasties, Fujian was divided into eight prefectures, three of which—Yanping, Jianning, and Shaowu—were located in Nanping. The city boasts a profound cultural heritage, serving as the birthplace of Minyue culture, Zhu Xi’s philosophy, Wuyi tea culture, Jian Ware Tea Cup and Jianyang Woodblock Printing Craft. Nanping is often celebrated as the “Land of Scholars” and the “Cradle of Neo-Confucianism.”
Nanping is also a premier tourist destination. The city boasts exceptional tourism resources, including the stunning Mount Wuyi, which is one of the four World Cultural and Natural Heritage sites in China, the starting point of the ancient Tea Road, and one of the first five national parks. Nanping is home to one national 5A-level, 16 national 4A-level, and 30 national 3A-level tourist attractions, as well as seven nationally recognized historic and cultural towns and villages. Notable tourist sites include Xiyuan Canyon in Yanping district, Tiancheng Rock in Shaowu county, Shunchang Baoshan, and Fozishan Geopark in Zhenghe county, making Nanping a top destination for leisure and vacation travel.
Tea Culture in Nanping, China
Nanping has a long and distinguished history in tea cultivation, production, and trade, as well as in tea tasting and competitions. It holds a unique place in both Chinese and global tea history. Tea culture in Nanping dates back to the Han dynasty, flourished in the Tang dynasty, and reached its peak during the Song, Yuan, Ming, and Qing dynasties. The saying “Beiyuan Dragon-Phoenix tea is unparalleled under heaven” aptly describes Nanping’s tea heritage. Nanping is the birthplace of three of the world’s six major tea varieties: black tea, oolong tea, and white tea, earning it the titles “Origin of Black Tea,” “Hometown of Oolong Tea,” and “Cradle of White Tea”. This region is one of regions in China producing the most diverse varieties of tea. Wuyishan City, located within Nanping, is also known as the starting point of the “Great Tea Route,” underscoring the region’s deep and enduring connection to tea culture.
Masters of Intangible Cultural Heritage
The Tourism and Tea Culture Week of Nanping has specially invited intangible cultural heritage masters from Nanping to give keynote speeches on China’s Wuyi tea culture and the traditional craftsmanship of Wuyi rock tea, offering an in-depth analysis of the unique charm of Chinese tea culture.
刘国英
Liu Guoying
- One of China’s First Tea Masters
- One of China’s Top Ten Craftsmanship Tea Makers
- First Inheritors of Wuyi Rock Tea (Dahongpao tea) Production Technique
- Expert Member of the Tea Variety Validation Committee of the Fujian Provincial Department of Agriculture
- Member of the Domestic Expert Group for the International Oolong Tea Standardization Committee
- Member of Tea Industry Standardization Committee of Fujian Province
叶灿
Ye Can
- Promotion Ambassador Of Dahongpao Tea From Wuyi Mountain
- Intangible Cultural Heritage Inheritor Of Wuyi Tea Art
- Intangible Cultural Heritage Inheritor of Wuyi Rock Tea Production Technique
- National First-Class Tea Evaluator
- National First-Class Tea Sommelier
- Wuyi Mountain tea culture expert
Intangible Cultural Heritage Exhibits
The Tourism and Tea Culture Week of Nanping will feature works from 11 intangible cultural heritage artisans, including Jian ware, woodblock prints, bamboo paintings, bamboo weaving, and other traditional Nanping intangible cultural heritage products.
建盏
Jian Ware
Jian ware has a deep cultural heritage. It originated in the late Tang dynasty and the Five Dynasties period, flourished during the Northern and Southern Song dynasties, and was named “Jian ware” because it was produced in Jian’an County of Jianzhou Prefecture in Song Dynasty. Crowned as the “Black Peony” of the porcelain world, Jian ware held a unique historical status alongside celadon and white porcelain during the Song dynasty. At that time, the unique “tea whisking” and “tea competition” culture made Jian ware a favorite of the imperial court and highly cherished by the public.
Jian ware possesses a distinctive Chinese elegance, with its shapes primarily categorized into four types: flared rim, rolled rim, contracted rim, and constricted rim. The shapes are simple, robust, elegant, and minimalistic, embodying the poetic simplicity of Song dynasty aesthetics.
Each Jian ware piece is one of a kind. As the saying goes, “One color enters the kiln, but myriad colors emerge.” Each piece is unique, as if it were a creation of the “Kiln God.” Jian ware features thick and sturdy clay, deep black glaze, and intricate textures, which can be broadly classified into “hare’s fur,” “Partridge Spot,” “oil spot,” “yohen,” “black gold,” and other miscellaneous glazes.
Jian ware is also highly functional. Its thick body retains heat well, making it ideal for tea drinking, as it enhances aroma and keeps tea warm. Additionally, Jian ware contains high levels of iron, earning it the nickname “iron-bodied,” which helps soften water and improves the flavor, making it a healthy choice for tea and drinking water.
National-level representative inheritor of the “Jian Kiln Jian Ware Firing Techniques” project, National Master of Ceramic Art, and National Master of Craft Art. From 1972 to 1975, he researched and developed high-white, Jian white, and black-glazed ceramics. From 1979 to 1980, he participated in the project to revive the “Hare’s Fur Glaze” of Song Dynasty Jian kilns and published a monograph titled Research on the Restoration of Jian Kiln Series Jian Ware. His Jian ware works have been collected by the National Museum of China and have earned “Excellence in Craftsmanship” certification from the UNESCO World Crafts Council.
Recipient of the UNESCO Intangible Cultural Heritage Outstanding Contribution Award, Academician of the National Academy of Arts of Ukraine, representative inheritor of the yohen firing technique, and Senior Craft Art Master. Lu’s works have won national and provincial craft art awards and have been collected by the National Art Museum of China, the Victoria and Albert Museum in the UK, and the Museum of Oriental Ceramics, Osaka in Japan.
One of China’s First Traditional Craft Intangible Cultural Heritage Artisans; Provincial Representative Inheritor of the “Jian Kiln Jian Ware Firing Techniques” project. Having grown up in a family of artisans, she has been engaged in Jian ware cultural art for nearly 30 years under the guidance of her father, Sun Jianxing. Her Jian ware creations have been collected by prestigious institutions such as the Great Hall of the People, the National Art Museum of China, the China National Arts and Crafts Museum, the China Intangible Cultural Heritage Museum, and China National Archives of Publications and Culture. These works have also won multiple national and provincial gold and silver awards.
Representative inheritor of the Fujian Provincial Intangible Cultural Heritage for the Jian ware firing technique and Fujian Provincial Master of Arts and Crafts. Her works have won numerous national and international gold awards. With over 40 years of dedication to ceramic art, her exceptional craftsmanship in creating “Golden Oil Drop” Jian ware has filled a gap in ceramic firing techniques both in China and globally. Her works are part of the collections of the Victoria and Albert Museum in the UK, the British Museum, the National Palace Museum in Taipei, and the National Art Museum of China, among others.
Representative inheritor of the Fujian Provincial Intangible Cultural Heritage for the Jian ware production technique, Fujian Provincial Master of Arts and Crafts, and Fujian Provincial Folk Crafts Master. With over 40 years of experience in researching and collecting Jian ware, she is the founder of the “Black Peony” Jian ware. Adhering to traditional methods, she works entirely by hand, using pure ash glaze without any added minerals. Through continuously refining her skills, she has enhanced the quality of Jian ware and skillfully combined traditional firing techniques with modern tea utensils, innovatively creating Jian ware with a contemporary touch.
Representative inheritor of the Nanping Jian Kiln Jian ware firing technique, an intangible cultural heritage protection project, and Fujian Provincial Ceramic Art Master as well as a prominent figure in Fujian’s arts and crafts community. Zhan’s works have won the Gold, Silver, and Bronze Awards at the Cross-Strait (Xiamen) Cultural Industries Fair, the Silver Award at the 8th Fujian Arts and Crafts “Zhengyan Cup,” and the Gold Award at the 9th Putian Cross-Strait Crafts Expo. Zhan’s Jian ware pieces were selected as official gifts for the leaders of BRICS nations during the Xiamen Summit, presented to heads of state attending the event.
版画
Printmaking
Songxi County has a rich history of printmaking, with its roots tracing back over a thousand years to the woodblock printing techniques of the Song Dynasty(960-1279) known as “Jianben.” Printmaking in Songxi, Fujian, is a traditional craft, best known for its intricate reduction woodcut prints. These artworks, ranging from black and white to multicolor, display a wide array of techniques. They are deeply connected to local culture yet resonate with contemporary themes. The prints are finely carved and delicately printed, combining a strong local character with influences from academic printmaking, resulting in a unique artistic expression. Songxi County is home to over 1,000 prints, with more than 300 pieces held in collections at institutions such as the National Art Museum of China, Fujian Art Museum, and the Oberon Art Museum in Australia. The Ministry of Culture and Tourism of PRC has recognized Songxi as the “Hometown of Chinese Folk Printmaking Art.”
Member of the China Artists Association, Director of the Fujian Artists Association, and Head of the Songxi County Printmaking Institute. Her works have won numerous awards, including the Excellence Award of the “Stars Award” from the Ministry of Culture and the Best Award at the Fourth National Youth Art Exhibition. Her prints are collected by the National Art Museum of China, the Guangzhou Museum of Art, International Printmaking Center at National Taiwan Normal University, and Oberon and District Museum among other institutions.
Member of the China Artists Association, specially appointed painter at the Fujian Provincial Painting Academy, and member of the Fujian Artists Association. In 1994, she organized the establishment of the Songxi County Women’s Printmaking Class, promoting amateur art creation among the public. She received the Excellence Award at the 12th China “Stars Award” Art Exhibition and the 6th Fujian Baihua Literature and Art Award. Her works have been collected by the National Art Museum of China, the International Print Art Center in Taiwan, and the Oberon and District Museum in Australia. Her works have been published in magazines and newspapers such as Art, China Art Weekly, Asia Arts, and Art Attitude.
竹画
Bamboo Painting
Bamboo paintings are created using bamboo that is 5 to 6 years old. The bamboo is rapidly heated to 160°C and then pressed into boards or thin sheets less than 0.3 millimeters thick. These bamboo surfaces serve as the canvas for traditional paintings, where the natural texture and grain of the bamboo are preserved, along with its soft, natural yellow hue, lending the artwork a timeless, antique quality. After treating the bamboo to highlight its natural grain, the material can be used for a variety of art forms, including traditional Chinese painting, oil painting, watercolor, lacquer painting, and calligraphy. Bamboo painting is a modern innovation that builds upon the ancient traditions of bamboo slips and bamboo curtain paintings.
Member of the China Folk Literature and Art Association, Director of the Calligraphy and Painting Committee of the Shanghai Aesthetic Society, and founder and inheritor of the Bamboo Painting Intangible Cultural Heritage Project. In 2015, inspired by Han Dynasty bamboo slips and Qing Dynasty bamboo curtain paintings, he has since been persistently engaged in creating bamboo curtain calligraphy and paintings. At the same time, he explored innovation in calligraphy and painting on bamboo strips and achieved success. In 2022, “Zhenghe Bamboo Strip Calligraphy and Painting” was recognized as an Intangible Cultural Heritage Protection Project by Nanping City.
竹编篇
Bamboo Weaving
Wuyishan bamboo weaving, recognized as a representative project of Fujian Province’s intangible cultural heritage, has a history spanning 3,800 years. This craft involves over 100 different weaving techniques and uses bamboo that is one year old. The process typically includes splitting, shaving, polishing, and weaving the bamboo. Techniques such as threading, inserting, slicing, wrapping, nailing, tying, looping, plain weaving, twill weaving, and creating four-cornered holes are used to craft intricate patterns and designs. The finished products showcase a wide variety of motifs with striking color contrasts.
A prominent figure in Fujian’s arts and crafts community, and a representative inheritor of Nanping’s intangible cultural heritage. His works have received over 60 national and international awards, including China Arts and Crafts Award, the National Best Craft Award, the National Best Inheritance Award, the UN Innovation and Creativity Award, the International Bamboo Design Competition Silver Award, and the Fujian Provincial Cultural Creativity Award. His bamboo weaving Space has been selected as a case study for the Carbon Reduction and Low Carbon Development in World Heritage Sites organized by UNESCO and International Bamboo and Rattan Organization.
