In the wake of rapid economic growth, Wenzhou's cultural heritage—especially its traditional arts—has often been overlooked. Yet in Yueqing, a city within Wenzhou, one family has preserved a craft that has stood the test of time for over a century: boxwood carving. This art form, along with Dongyang wood carving and Qingtian stone carving, is collectively known as the "Three Carvings of Zhejiang" and was recognized as a national intangible cultural heritage in 2006. However, like many traditional crafts, it has struggled to survive in the face of modern market forces.
Amid this challenge, the Ye family continues to safeguard their legacy. Ye Xiaoquan, the sixth-generation inheritor of the Ye Chengrong school of Huangyang wood carving, is one of the few who have remained committed to the craft instead of pursuing more lucrative business opportunities. Many have suggested he rent out his workshop or switch to a more profitable industry, but Ye could not let go of his family’s tradition. For him, it wasn’t just about duty—it was also about honoring his father, whose passion for the craft left a lasting impression on him.
Born into a lineage of master carvers, Ye Xiaoquan witnessed his father, Ye Dongcai, dedicating his life to the art. Even when diagnosed with late-stage cancer, Ye Dongcai continued working, driven by an unshakable love for his craft. Inspired by his father’s perseverance, Ye Xiaoquan took it upon himself to ensure the survival of the family’s artistry.
To keep the craft relevant, Ye Xiaoquan introduced a modern production model. He implemented a workflow system that combines traditional techniques with assembly-line efficiency. While some purists may criticize this approach, it has proven successful. His factory now employs over 200 workers, producing high-quality carvings that are exported worldwide, particularly to Japan. Despite challenges, the company has managed to balance tradition with innovation.
However, the future of boxwood carving still faces hurdles. The younger generation shows little interest in learning the craft, and many parents view it as an outdated career choice. To address this, local institutions have started offering specialized training programs, but enrollment remains low. As Zhou Jinyun, a respected figure in the arts community, points out, attracting talent requires improving the economic viability of the craft.
In the end, the key lies in balancing tradition with modernity. Ye Xiaoquan believes that innovation is essential to keeping the craft alive. By making boxwood carvings more accessible and affordable, he hopes to create a broader market that supports both mass-produced and handcrafted pieces. If more people embrace this art form, it can thrive once again.
With visionaries like Ye Xiaoquan leading the way, the future of boxwood carving looks promising. It’s a story of resilience, adaptation, and the enduring power of tradition.
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