Preserving cultural heritage

Ancient architecture in the game “Black Myth: Wukong”

Ancient architecture serves as a testament to history, embodying a wealth of cultural memories. In an age where the ancient and modern coexist, efforts are concentrated on protecting and preserving these architectural treasures to ensure this heritage is passed down through generations. By exploring these ancient structures, we engage in a dialogue with history, immersing ourselves in the allure of traditional culture. The future’s resonance lies in integrating the spirit of ancient architecture into contemporary life, breathing new vitality into these historic forms.

A lifetime of commitment: Preserving the magnificent suspended sculpture

In the game “Black Myth: Wukong,” more than 20 scenes are inspired by the ancient architecture of Shanxi, greatly enhancing tourism in these areas, including Xiaoxitian in Xixian County, Linfen City. Originally known as Qianfo’an (Thousand Buddha Temple), Xiaoxitian has been home to thousands of Buddhist statues that date back to nearly 400 years ago.

Wang Jin, a 60-year-old researcher at the Xiaoxitian Suspended Sculpture Museum, has devoted 45 years of his life to this site. His journey as a guardian of the suspended sculpture began in 1979 when he joined the Xiaoxitian Relics Administration.

His roles have evolved from ticket seller to patrol inspector, photographer, relic researcher, monographer, and deputy director of the Xiaoxitian Relics Administration, eventually culminating in his position as the director of the Xixian Cultural and Tourism Bureau. Despite the many changes in his responsibilities and titles, his original mission has remained steadfast. He has climbed the hundreds of steps next to a turquoise lake countless times, often making several trips in a single day.

For Wang, rainy days are the most concerning. Unlike other ancient structures, Xiaoxitian is built on loess hills that are prone to erosion. Rain can quickly create large pits, making foundation reinforcement critical. During the rainy season, his worries intensify. Sometimes, when it starts to rain unexpectedly at night, he will get up, don rain gear, and take a flashlight to inspect the site for potential hazards.

During the Chinese New Year, Wang is extremely busy due to the peak season for incense offerings by local residents. For over 40 years, he has not shared a reunion New Year’s Eve dinner with his family, dedicating himself instead to overseeing the preservation of Xiaoxitian. Wang speaks fondly of the thousands of Buddhist statues housed within the temple, remarking, “In this modest hall of under 170 square meters, there are more than 1,900 colorful sculptures, each with a unique pose. It can truly be described as a ‘masterpiece of hanging sculptures,’ unlike none other.”

According to Lu Yi, director of the Shanxi Institute for the Conservation of Ancient Architecture, Colored Sculpture, and Murals, the recent popularity of the game “Wukong” has significantly raised awareness of Shanxi’s ancient architecture among a wider audience. However, he points out that the 27 locations featured in the game represent only a fraction of what Shanxi has to offer. Lu emphasizes the importance of preservation and stresses the need for new talent to invigorate the field for effective stewardship of cultural heritage.

Since 2022, Shanxi has launched a free training program for all-round cultural heritage professionals, placing graduates in local cultural preservation institutions at or below the county (city) level. “Now, those born in the 1980s are serving as deputy directors, the 1990s cohort is becoming core members, and the 2000s group is poised to lead some projects. Recent Ph.D. graduates are eager to apply for the new positions we’ve announced,” Lu said with optimism. He hopes to see even more young people involved in cultural heritage preservation, emphasizing that building a strong preservation workforce requires an influx of young, high-level talent. This includes not only skilled artisans but also experts in architectural history, art history, religious studies, and advanced technology.

Rugged yet skillful hands: Crafting colorful rooftops

On the lively Yongqingfang Street in Liwan District of Guangzhou, tourists bustle about, creating a vibrant atmosphere. At a scaffold near the entrance of an alley, Shao Chengcun is deeply immersed in the craft of plaster sculpture.

Plaster sculpture is primarily employed for decorative purposes on architectural features such as doors, windows, eaves, pavilions, and archways in the Lingnan region, which includes present-day Guangdong Province, Guangxi Zhuang Autonomous Region, Hainan Province, and parts of Hunan and Jiangxi provinces. Renowned for its vibrant colors, plaster sculpture not only offers aesthetic appeal but also showcases the architectural ingenuity of the Lingnan people. Shao explains that by using the most common material—lime—plaster sculptures can endure centuries of exposure to the elements, effectively addressing challenges posed by the region’s hot and humid climate, including heat retention, moisture intrusion, wind erosion, and pest resistance in traditional buildings.

“Whether in a thunderstorm or during the extremely humid rainy season, water droplets do not accumulate inside Lingnan’s ancient buildings, thanks to lime’s ability to absorb moisture and release it when the sun shines,” Shao explained, adding that the large plaster sculptures on eaves help secure the tiles against typhoons, thereby safeguarding those within. Shao considers plaster sculpture a “breathing” form of decorative art, constantly adapting to the heat and humidity of the Lingnan climate. He believes this architectural innovation represents a valuable heritage passed down from ancestors to future generations.

Typically, plaster sculpture is crafted directly on buildings, highlighting the importance of on-site production tailored to the specific structure and its surroundings. Its strong malleability makes mass production impractical, relying instead on the skill of artisans. “Lime is the primary material used in plaster sculpture. I’ve been working with lime for decades; my hands may be rough, but that’s not an issue!” Shao remarked.

Shao Chengcun’s plaster sculpture craft has been passed down from his father, Shao Yaobo. “I first encountered plaster sculpture in 1979 at Liurong Temple during my winter vacation when my father took me along to craft plaster sculptures.” Witnessing ordinary materials like copper wire and lime transform into vibrant plaster lions through his father’s skilled hands sparked a passion in Shao Chengcun.

He learned step by step alongside his father, mastering the fundamental techniques of plaster sculpture, from mixing the plaster and sketching to shaping and applying colors. In 1987, to test his progress, his father allowed him to take on plaster sculpture projects independently. “That was when I realized that, although plaster sculpture appears simple, the craft is actually limitless. Whenever I encountered something, I didn't understand while working, I would ask my father immediately.”

Shao Chengcun mentioned that the most valuable lesson he learned from his father is the importance of integrity in craftsmanship: “Work diligently and hone your skills; that’s how you make a living.” The craft of plaster sculpture allows no room for laziness. “If your skills aren’t up to par, no one will hire you to create plaster sculptures,” he said.

Shao Chengcun also learns from the works of earlier generations of plaster sculptors. When creating plaster sculptures, he often finds that one side retains the original piece, while the original piece on the other side has been lost over time. “As I recreate the piece on the right, I constantly compare it to the original on the left. The lions on the roof eaves embody both movement and stillness, displaying many variations. Each plaster sculpture has its own character; they are never identical.” Now, Shao Chengcun has developed a profound understanding of the temperament of every bird and beast depicted on the roof ridges. These silent lessons from the past have deepened his appreciation for the art of plaster sculpture and connected him to the craftsmanship of his predecessors.

A central axis: Linking profoundness, grandeur, and daily life

On a crisp morning, 14-year-old Yan Jiaqi stands by the north gate of Beijing’s Temple of Heaven Park, his fingers lightly tapping the screen of his smartphone to share some photos. These images capture “graffiti” he discovered on the park’s walls. Moments later, the Beijing Central Axis Heritage Protection Center’s computer system receives the photos and quickly verifies their validity for inspection purposes.

Yan is a participant in the Beijing Central Axis Digital Watchman project, which was launched in December 2023. Inspired by the idea of “snap and share,” this initiative empowers everyone traveling along the Central Axis to become potential guardians of cultural heritage. The project utilizes advanced technologies such as big data, cloud computing, artificial intelligence, blockchain, knowledge graphs, and innovative cultural creations to enhance the digital preservation and inheritance of cultural heritage. Through the Cloud Central Axis WeChat mini-program, individuals can easily report any instances of damage or issues that require attention, with the collected data being used for heritage protection and monitoring.

This summer alone, the initiative generated 7,000 inspection data images, predominantly contributed by teenagers aged 10 to 16. Not only does this involvement allow youths like Yan to actively participate in preserving the Central Axis, but it also deepens their understanding of its history and culture. Currently, there are around 20,000 participants across Beijing engaging in this important effort.

Growing up near the Central Axis of Beijing, Tian Shenshen has recently dedicated herself to the preservation and revival of the city’s historic areas. Her daily work involves wandering the old streets and alleys surrounding the Central Axis, using her feet and pen to document every nuance of the urban fabric. She understands that revitalizing the old city is not merely about renovating buildings; it requires a profound understanding and respect for the needs of the residents and the current state of urban space.

In a quadrangle courtyard situated in Dongsi Hutong, she attentively listened to an elderly woman in her 80s, who expressed her desire to plant flowers in her courtyard. After numerous designs and modifications, Tian revitalized a once-dilapidated building on Dongsi Liutiao Hutong into a vibrant, flower-filled space, creating a welcoming corner for local residents to exchange gardening tips and share their stories.

Tian and her team have undertaken many such projects aimed at revitalizing old neighborhoods. “Cities are about people, not concrete and steel,” she said. The warmth, happiness, and pride that come from enhancing people’s lives in spaces they have helped create is immeasurable and invaluable.

Read More:

Ingenious craftsmanship of Chinese ancient architecture

The construction of ancient Chinese architecture is a multifaceted art form that incorporates the knowledge and wisdom of the ancients across various fields, including astronomy, geography, mathematics, and physics. The remarkable building techniques not only highlight the ingenuity of ancient craftsmen but also provide a valuable cultural heritage for future generations.

Mortise and Tenon Joint: This technique is the most iconic method of connecting components in ancient Chinese architecture. By precisely fitting wooden elements together, pieces can be securely joined without the use of nails or glue. This construction not only offers an aesthetically pleasing finish but also demonstrates outstanding resistance to earthquakes.

Dougong System: Dougong is a sophisticated wooden structural system made up of a series of interlocking short beams (gong) and square wooden blocks (dou). It not only supports the weight of the roof but also enhances the building’s aesthetic appeal by adding layers and a rhythmic beauty to its design.

Sculptural Art: Ancient Chinese architecture features “three carvings”— brick, wood, and stone—characterized by rich and intricate themes. Skilled artisans depicted decorations of rare birds, auspicious creatures, legendary tales, and scenes of daily life on buildings, reflecting the ancients’ deep longing for a beautiful existence.

Painted Murals: Ancient artisans adorned the walls and ceilings of buildings, as well as furniture, with a variety of intricate patterns depicting mythological stories, historical events, and representations of flowers, birds, fish, and insects. These murals not only enhanced the aesthetic appeal of the architectural space but also held profound cultural significance.

Roof Design: Traditional Chinese buildings feature a diverse range of roof shapes, with notable characteristics including overhanging eaves and upturned corners. These design elements not only enhance the aesthetic of the building but also facilitates drainage.

Landscape Layout: Unlike symmetrical garden designs, classical Chinese gardens pursue a harmonious unity between nature and artificial elements, skillfully arranging features such as rocks, water flows, pavilions, and towers.

Text by our staff correspondents
Translated by YNTA