Sixth-gen clay figurine heir focuses on spirit over color

In a studio in Tianjin, a clay statue of the writer Lu Xun stands apart from the more familiar figures of Chinese folklore that surround it.

Unlike the bright works traditionally associated with the century-old Clay Figurine Zhang school, the sculpture is left in its natural clay color. Its creator, Zhang Yu, said the understated approach reflects personal choice and changing tastes.

"Traditional clay figures are very colorful," said Zhang, the sixth-generation inheritor of the nationally recognized intangible cultural heritage. "But the raw clay allows the form and the spirit of the figure Lu Xun to stand out. I think it fits modern aesthetics better."

The Clay Figurine Zhang tradition dates back to the late Qing dynasty (1644-1911) and is known for its finely painted, expressive figures, often drawn from history, opera, and mythology.

Zhang's clay sculptures possess a distinct style. In character portrayal, he focuses on capturing the subject's inner spirit. "Every line has to serve the spirit of the character," he said.

Under the inheritor's hands, Lu Xun's brow is furrowed, his gaze sharp. The lines are simple, yet highly expressive. This style gives Zhang's work recognizability within the realm of traditional clay sculpture.

Alongside the more serious portraits are playful creations aimed at younger audiences, including a small sculpture of a horse carrying a gold ingot, a visual pun on the phrase "wealth arrives on horseback". The piece was designed ahead of the upcoming Year of the Horse in the Chinese zodiac. "We need to make young people feel clay sculpture is fun, not something aloof and distant," Zhang said. By introducing lighter, cuter designs, he hopes to make the traditional art form more accessible.

Zhang said that each generation of the Clay Figurine Zhang family has developed its own style rather than rigidly copying the past. While traditional subjects such as Zhong Kui and Guan Yu remain central, he believes innovation is essential to keeping the craft alive. Our task is to let ancient art continue to live in the present, he said.

Liu Wenchao contributed to this story.