汉译英翻译实践案例5：

《盐城非物质文化遗产选编》

1瓷刻（大丰瓷刻）

瓷刻是中华民族的艺术瑰宝，是中华民族独具特色的传统艺术之一，两百多年以来，这门技艺经过不断地传承发展愈加成熟。

大丰瓷刻是以瓷件为载体，钢凿和铁锤为主要工具，凿刻瓷件产生崩瓷效果，使艺术作品物象肌理再现于瓷体表面的传统美术表现形式。它始于清代同治年间，至今已有百年以上历史，现以江苏省盐城市大丰区为核心流传区域，同时辐射到盐城市盐都区、东台市、射阳县等地。

大丰民间自古就有逢红白大事时众邻居或亲友借碗盅给主家办事的习俗。为区别碗盅所属，各家在其碗盅底部凿刻姓氏或特殊记号，后有人在碗盅壁面凿刻花草、动物以及人像，大丰瓷刻由此萌生、流传。

大丰瓷刻充分利用瓷件本身特有的质地，以特制的刀具，精细的凿刻，将深浅不一、疏密不同、长短不齐、有粗有细、有虚有实的凿刻刀法与技法巧妙结合，使瓷件物象肌理再现于瓷体表面，从而赋予作品独特的构成形式和审美效果，被喻为“瓷器上的刺绣”。其工艺流程主要包括设计、渡稿、雕刻、赋色、整理、装饰六步。其中雕刻是核心环节，精度要求极高，要求留瓷技艺精准，使作品物象肌理与设计稿样严丝合缝，真实逼真。大丰瓷刻作品涉及摆件、立屏、挂屏等多种类型，代表性作品如《越洋电话》《燃不尽的乡愁》《麋鹿王》等多被博物馆收藏或作为国礼赠送给外国领导人。大丰瓷刻以师徒传承为主要方式，代际关系明确的传承谱系已至第五代。

大丰瓷刻既有洒脱的书画笔墨之韵，又有浓烈的金石雕刻之趣，技法独特、风格立异、独树一帜，极具魅力，是一门融入版画、国画、油画、书法、篆刻等多种艺术样式的瓷刻艺术，具有极高的艺术价值。它是当地推动乡村振兴、带动百姓致富的重要项目，对于促进当地经济发展、维护社会和谐具有积极意义。

2. 大丰中医正骨疗法

大丰中医正骨疗法起源于明清时期，有数百年历史，被列入江苏省非物质文化遗产。该疗法以中医整体观和辨证论治为核心，融合骨伤科经验与地方智慧。  

其起源与江南中医流派相关，明代已有医家实践，清代至民国时期李氏、王氏等世家形成系统化经验。基于《黄帝内经》《伤寒杂病论》等经典，强调“筋骨并重、内外兼治”，通过手法复位、中药外敷、夹板固定和功能锻炼治疗骨伤疾病，注重恢复生理功能。  

疗法以独特“摸、接、端、提、推、拿、按、摩”八法整复骨折脱臼，如四肢骨折无痛复位，软组织损伤结合中药外敷和热敷消肿止痛。重视个性化治疗，辅以传统练功促进康复。  

相比西医，该疗法治疗新鲜骨折、关节脱位及慢性筋伤具有创伤小、费用低、并发症少优势。临床数据显示，桡骨远端骨折治疗恢复优良率90%以上，无需手术。  

当前由李济民、王德胜等传承人发扬，弟子团队通过师承教育与院校培养延续技艺。大丰市中医院设有骨伤科门诊，年接诊超万人次，开展教学科研。近年数字化记录和三维影像技术辅助创新，2021年出版《大丰中医正骨疗法临证经验集》，整理127例病例及43种方剂。  

作为中华传统医学重要组成部分，该疗法守护百姓健康，为中医药现代化提供范本，其“简、便、效、廉”特点在基层医疗中持续活跃。

3.大丰麦秆剪贴

大丰麦秆剪贴画是江苏省非物质文化遗产，由精选处理过的麦秆进行制板、裁剪、烫色、粘贴而成，创作工艺复杂，内容涵盖人物、山水、花鸟鱼虫等。大丰麦秆画，作为中国民间

剪贴画的一种，其工艺源于我国古代中原地区，历史已有千年，后经历代传播，成为一种完善的艺术形式。每年的麦穗黄了，麦秆就可以“作画”了。麦秆就是麦子的茎，制作麦秆剪贴画用的都是紧挨麦穗的部分。麦秆经过处理后，变成1厘米宽的条，通过剪、烙、贴、烫等工艺，就能创作出想要的图案，再经过装裱就成了一件艺术品。麦秆最美的是它的光泽，因此制作麦秆画首先要从选择合适的麦秆开始。要挑拣长得直、长得粗、晾得好的，通过蒸煮高温脱脂后，经过处理分出“草皮”和“草心”。草皮用以制作画面主体有光泽的部分，比如鸟类的羽毛；草心用以制作画面背景无光泽的部分，比如山石等。这种搭配令麦秆画拥有丰富的表现力，并且更加有质感。

大丰麦秆剪贴传承人吴永龙，作为江苏省首批乡土人才“三带”能手，在30多年来守望初心，砥砺前行，致力做中国传统文化和工匠精神的坚守者，把普普通通的麦秆蜕变成一件件富有时代意义的文化艺术作品。通过发挥好自身优势，让海内外各界人士感受到了中华优秀传统文化的无限魅力，进一步增进了文化共识，为增强“四个自信”，贡献出非遗传承人的智慧和力量。

4.施耐庵与《水浒》传说

水浒文化是中国最具特色的民族文化之一，其起源可追溯至宋代梁山农民起义失败后。民间将36条好汉的史实演绎成108位英雄的故事，通过各种形式在全国流传。元代时期，这些故事发展成说唱曲艺，深受百姓喜爱。

元末明初，施耐庵（约1296-1370）在民间传说的基础上，结合苏北白驹场盐民张士诚起义的史实，创作出《水浒传》，使其成为中国四大名著之一。施耐庵名彦端，字子安，号耐庵，出生于泰州海陵县白驹场（今江苏省大丰市）。他曾考中进士并短暂出任钱塘县尹，后因与权贵不合而辞官。施耐庵曾加入张士诚起义队伍担任幕僚，这段经历为他创作《水浒传》提供了重要素材。

由于施耐庵为官时间短暂，且所处时代轻视小说作者，他的生平未见正史记载。但在江苏大丰、兴化、苏州、徐州、江阴以及山东郓城、梁山和浙江钱塘等地区，流传着大量关于施耐庵身世和著书的传说。例如在大丰和兴化，传说施耐庵隐居时常与当地百姓交流，获取创作灵感；在山东郓城，他曾任训导，收集了大量民间故事；在浙江钱塘，他辞官后的生活经历也影响了作品的创作。

这些民间传说极大地丰富了水浒文化的内涵。施耐庵通过个人经历和民间智慧，将历史事件升华为文学经典。《水浒传》成书后历经多个版本演变，从单纯的英雄起义故事发展到包含招安、征辽等情节，反映了作者对忠义矛盾的深刻思考。水浒文化因此超越文学范畴，成为融合历史、民俗和哲学的中国传统文化代表，至今仍在国内外产生深远影响。

5.草堰木刻

木刻是我国独有的民间手工艺制品，木刻制作是民间手工艺制品中的一门绝技。2014年9月，由草堰镇文化站作为项目保护单位的草堰木刻被公布为盐城市非物质文化遗产代表性项目。

木刻艺术相传已久，表现的形式主要是以人物图像为主，也有表现动物的图案。大丰草堰刘鸿宾木刻主要是以人物肖像为主，经多年精心研习，成功创作木刻水浒108将人物像。刘鸿宾的手工木刻起源，首先是《水浒》108将人物造型，按照书中人物的特色、服装、表情、道具细化到位，画出轮廓、反复论证。开始有些失笔失刀现象，多年的耐心琢磨，寻找合适的材料，专用刀具等，终于将木刻《水浒》108将制成，先后在上海东方电视台、江苏电视台、香港卫视、盐阜大众报、大丰日报等媒体作了宣传，盐城市为其命名为“木刻大师”。

草堰木刻材料：选用上等的，优质的木料。白果树、冬青树最宜雕刻。工具有：大、中、小型刀具，小铁锤子、铁砂等。大刀用于大面积的整理；中刀用于线条轮廓的处理；小刀主要用于人物面部眼、耳鼻、嘴、表情的细化。小铁锤子是处理比较凹处的加力点，整个一幅木刻完成后再用铁砂子摸擦一遍，使之光滑不毛燥。

木刻艺术具有特殊的艺术价值，工艺较复杂，制作难度较大，堪称民间工艺品中的一朵奇葩。木刻产生的画面立体感较深，制作工艺精巧，匠心独运，选材用刀讲究，所有木刻人物经久不变，远观近看，古朴典雅，栩栩如生，意态盎然，各行奇趣，赏心悦目，堪称手工艺制品中的奇迹。

6.利民木兰龙舞

龙舞具有2000多年的历史，属中华龙舞布龙系列，是流传于江淮一带的典型民间舞蹈表演艺术。盐城市第四批市级非物质文化遗产代表性项目名录传统舞蹈类项目。

利民龙舞由大丰大中镇老一代民间艺人迮锦香传承，并于上个世纪80年代将龙舞技艺传给了周井江，2005年以前，龙舞队采用的都是迮老先生传授的108套中常用套路，2005年8月，周井江接受南师大林教授一个星期的舞龙专业培训，系统学习规范动作23套和自选套路，木兰龙舞有了新发展。2005年4月，大中镇政府为迎接盐城市首届龙舞大赛专门召开会议，研讨龙舞现状与保护发展措施，明确提出“保护木兰龙舞品牌，弘扬民间特色文化”的要求，大中镇文化站将木兰龙舞作为群众文化活动的重点特色项目进行长效保护管理，利民村成立龙舞管理小组，由时任党总支书记周井江全面负责。周井江作为第二代龙舞传承人，精心组织一批年轻力壮的女子进行培训，使得龙舞队充满青春活力，村妇女主任杨晓翠赴省学习，成为新生代龙舞传承人。如今，每逢农市节日就将年轻人召集起来集中培训，积极参加各级各类比赛，义务参加区、街道组织的团拜踩街、节庆民俗表演活动，并在传统节日为村民义务慰问演出，近年来，随着旅游业的发展，正常参加梅花文化节、恒北梨花节的民俗表演，龙舞活动得以在文化、旅游活动中焕发着新的活力。

7.发绣（东台发绣）

东台发绣又称“墨绣”，是流传于江苏省盐城市东台地区，以本地沿海地区长度30厘米以上的少女头发为“线”，用苏绣传统针法进行绣制的一种传统刺绣工艺。它源于唐代信女用发丝绣制佛像的习俗，至今已有1300多年历史。现主要分布在江苏省盐城市东台市及其周边地区。2021年5月被国务院公布为第五批非物质文化遗产。

发绣，是用优质头发绣成的工艺美术品，与其它刺绣工艺品相比，具有用料奇特，具有不腐、不蛀、不褪色的特点和古朴典雅、苍润秀丽的风格。东台发绣用本地沿海地区少女长度30厘米以上的优质头发作为生产原料，头发要求光亮、柔软、耐折、伸张力强。发绣工艺是一门综合艺术，涉及到书、画、印、绣、裱等诸多领域。

东台发绣在品种上，已由原来的“一墨绣”发展到“润色绣”、“双面绣”、“ 双面异色绣”；为了丰富发绣作品的表现力，发绣技师和绣女们在继承传统针法的基础上，拓展了滚、旋、缠、套、施、乱、虚、实等30多种针法，视不同作品灵活运用，使作品的浓淡、干湿、远近、深浅饶有笔意。

东台发绣制作工序复杂，每幅作品通常需由多方面艺人合作完成。先由设计师设计作品样稿，画师根据样稿在塔夫绸等面料的绷布上勾样，其后绣工们选用优质人发，穿针引线绣制成多种优美画面，后经装裱，成为一件精美的手工艺品。东台发绣传承方式为师徒相授，发绣艺人主要分布在江苏省盐城市东台地区。

东台发绣作品内容丰富多彩，精品迭出，多次荣获国家、省级大奖。发绣作品多次登上央视寻宝栏目，发绣长卷《郎世宁百骏图》被鉴宝专家评鉴为“国宝”。东台先后四次被原国家文化部、文旅部命名为中国民间文化艺术（发绣）之乡。

东台发绣是一门涉及书、画、印、绣、刻等诸多领域的综合技艺，它历史悠久，地域文化特色浓郁，集中体现了我国传统美术的深厚内涵。它为有识之士欣赏，是收藏馈赠佳品，有效促进地方经济发展，带动当地就业，具有较高的社会文化和经济价值。

8.董永传说

董永传说最早载于西汉刘向的《孝子传（图）》。此后三国曹植的《灵芝篇》和东晋干宝的《搜神记》也都有相关记载。干宝的记载因主题突出（行孝）、情节完整（“鹿车载父”、“卖身葬父”与天女适嫁“助君偿债”）而在我国农村地区广泛流传，成为两千多年来故事嬗变和文学移植的母本，对后世影响深远。由于董永与七仙女的故事是一则既有教化作用又有爱 彩的民间传说，其教化内容同中国民众长治久安的大众心理需求相适应，爱情故事又契合了民众追求婚姻幸福的内在感情，所以它的神奇幻想同人间现实巧妙融合的艺术特色深受民众喜爱。该传说在长期口耳相传的过程中，因地、因时、因人而异，不断演变，在发展流变过程中具有了向爱情故事演变的趋势，但主题和“母体”并没有大的变化。20世纪以来的一百年间，董永故事一直成为拥有广大受众的俗文学（如说唱、戏曲）以及后起的影视文学创作追逐的题材，出现了电影黄梅戏《天仙配》等影响广远的作品。

董永传说在两千多年的漫长流传过程中，不断与各地的民众生活相结合。由于民众情感的渗透和口碑的附会，产生了富有地方特色的传说，留下相沿而成的风俗及与董永身世有关的文物、碑碣、村落、地名等遗迹。山西省万荣县、江苏省东台市、河南省武陟县、湖北省孝感市等地不仅有与董永相关的遗迹，而且地方志中也多有记载，都称董永是当地人，如山东博兴有董家庄、董永墓；山西万荣小淮村有“董永故里”的匾额，民间还织造“合婚布”；河南省武陟县每年农历二月初三和十一月初十均举行盛大的祭拜孝子的庙会活动；江苏省东台市有董家舍，南宋《方舆胜览》即记载这里为“孝子董永故居”等。多地流传、不断附会的“滚雪球”现象是传说故事常有的特点。董永传说蕴含的历史、文学资料对研究我国各个历史时期社会、经济、政治、文化，特别是文学艺术等方面的研究都有一定的价值。董永传说的教化功能对当今建设社会主义精神文明和构建和谐社会的实践具有一定的现实意义。

9.杂技（许河杂技）

‌ 许河杂技‌是一门起源于东台市许河镇的汉族传统杂技艺术，距今已有120年的历史。它源于盐城杂技“建湖十八团”的支脉，由“杂技姚家班子”与建湖杂技嫡系传人“杂技王侉班子”合作和发展后得名“许河杂技”。2023年入选江苏省人民政府公布第五批省级非物质文化遗产代表性项目名录。

130多年前，许河镇联富村一户农民家庭的长子姚贤根因生活所迫外出闯荡，在建湖杂技班潜心学艺，回乡后便组织同乡学习杂技表演，创建了“姚家班子”，后与同乡许河村的杂技“王侉班子”组合，共同在盐阜大地上创建了“许河杂技”。

许河杂技早年多为艺人农闲时走村串乡卖艺谋生，建国前的演艺活动多以“姚家班子”、“王侉班子”划分路线范围演出。合并后的许河杂技，以整体组团演出。

抗战时期，许河杂技创办人姚老先生将住宅交给粟裕将军做临时指挥所，与将军结成鱼水深情，以后各代传人也都听党话跟党走，曾经创办的“东台县杂技团”等艺术团体，历经国家自然灾害而精简，但许河杂技传人即自办民间演艺团体，将许河杂技传承下去，多次承担“送戏下村”演出任务，受到广大群众的一致好评。

许河杂技的百年间，姚家班子已经五代传人，第一代和第二代奠定了社会基础，从第三代姚德运起，事业有了长足的发展。姚德运，曾是东台市政协委员，1944年10月出生，6岁学艺，8岁登台，14岁进县杂技团当演员，22岁开始带徒传授杂技技艺，35岁创建“许河杂技团”。他借鉴和创作了大跳板、浪桥飞人、马术等许多杂技节目，使许河杂技水平融入了全国杂技界。他的班底当年有姚翠兰等近10人。

第四代传承代表人为姚辉，于1968年8月出生，1989年11月参军，1993年退伍后接过父亲的“掌门大印”，重新组建集杂技、歌舞于一体的新型团体，连续8年承担政府“送戏下村”演出。2000年以来，又组织残疾人杂技演出团体，“送戏下村”演出达350多场（次）。他的组团有姚琴等近30人。

10.中医正骨疗法（梅氏骨科疗法）

梅氏骨科起源于清朝康熙年间。梅氏祖籍扬州，清朝末年，梅氏第九代传人梅义俊赴东台县衙任医官，梅氏骨科从此传入东台。梅义俊秉承家训“以德载医”，赢得了四邻八乡的好口碑。新中国成立初期，梅氏第十代传人梅善甫在公立医院用梅氏正骨技术和秘方造福一方百姓。改革开放后，梅氏十一代传人梅子成和儿子梅沛生创立了“梅氏骨伤科医院”，在东台及周边县市声名远扬。

梅沛生接棒十二代传人后，确立了“中西医结合、综合发展、突出骨伤专科、打造优质品牌”的办院方针，将东台同仁医院（现东台梅氏中西医结合医院）打造成以梅氏骨科为龙头科室的综合性医院。骨科、普外科、内科、中医科等科室扩招中西医专家，医疗队伍日益壮大；同时，新建影像中心，购买了美国GE品牌16排螺旋CT 、C臂机、E6高端四维彩超和核磁共振（MRI）等高端设备，为精准化医疗提供保障。

骨科技术上，梅沛生院长继承祖传又不拘泥于祖传，而是针对患者的病情，通过专家团队会诊，灵活采用祖传手法复位、微创手术或切开手术。住院部一病区为保守治疗，二病区为微创手术和开放手术治疗，无论手术治疗还是保守治疗，都遵循中西医结合、优势互补、对位对线和快速长骨，标本兼治的治疗理念。在保证更好疗效的基础上减轻患者痛苦，降低医疗费用。

骨科用药上，梅沛生院长为让骨折患者骨痂生长速度快一些，对骨病患者疗效进一步提高，在祖传技艺和膏药的基础上，结合在南京中医药大学系统学习到的中医药知识和多年的医疗实践经验，以丰富的医学理论对祖传膏药进行改进。生产出新一代梅氏改良膏药。改良膏药分为：梅氏骨伤贴、梅氏骨病贴，根据患者实际情况，一人一方，干净、舒适，弥补了老黑膏药针对性不强、用药面积小、易过敏、透皮入骨慢的缺点。并研发出中药汤剂——“长骨三步方”和“养骨通络十六道方”，施行一人一方，分型分期，辅以适当理疗，多元联合治疗，促进骨折、骨病的恢复，更大化地降低患者的痛苦。骨科界公认股骨颈骨折术后股骨头坏死率高，在梅氏膏药和汤剂的针对性治疗下，坏死率大大降低，登门求诊者络绎不绝。

以下是根据要求翻译的英文段落，严格遵循完整传达、忠实原文、符合英语表达习惯的原则，采用学术性医疗文本的规范译法：

1. Porcelain Engraving (Dafeng Porcelain Engraving)

Porcelain engraving is a precious art treasure of the Chinese nation and one of its unique traditional arts. Over two centuries, this craft has matured through continuous inheritance and development.

Dafeng Porcelain Engraving is a traditional artistic form where porcelain pieces serve as the medium, with steel chisels and iron hammers as primary tools. By chiseling the porcelain to create fine incised lines, it reproduces the visual details or pictorial effects of artworks on the porcelain surface. Originating during the Tongzhi era of the Qing Dynasty, it has a history of over 150 years. Today, it is mainly practiced in Dafeng District, Yancheng City, Jiangsu Province, while also spreading to neighboring areas within Yancheng, such as Yandu District, Dongtai City, and Sheyang County.

In the past, it was a local custom in Dafeng for neighbors or relatives to lend bowls and cups to the host family during significant events. To distinguish ownership, each family carved their surname or special marks at the bottom of their bowls and cups. Later, some began carving flowers, plants, animals, and human figures on the sides of these utensils, giving rise to Dafeng Porcelain Engraving.

Dafeng Porcelain Engraving makes full use of the unique texture of porcelain pieces, using specially made tools to finely chisel different depths, densities, lengths, thicknesses, and variations in stroke density and contrast (e.g., solid and void, or dense and sparse lines). These techniques are skillfully combined to reproduce the textures of objects on the porcelain surface, endowing the work with a unique composition and aesthetic effect, often likened to embroidery on porcelain. The main steps in the process include design, pattern transfer, engraving, coloring, finishing, and decoration. Among these, engraving is the core step, requiring extremely high precision. It demands precise control to ensure that the engraved image matches the original design precisely, achieving a lifelike effect, achieving a lifelike representation. Dafeng Porcelain Engraving works encompass various types such as display pieces, standing screens, hanging screens, etc., with representative works like Transoceanic Call, Endless Nostalgia, and King of Milu Deer being collected by museums or given as national gifts to foreign leaders. Dafeng Porcelain Engraving is primarily passed down through master-apprentice relationships, with a clear lineage now extending to the fifth generation.

Dafeng Porcelain Engraving combines the free-flowing brushwork of calligraphy and painting with the intense charm of metal and stone engraving. Its unique techniques, distinctive style, and exceptional appeal make it an integrated art form incorporating woodblock prints, traditional Chinese painting, oil painting, calligraphy, and seal carving. It holds immense artistic value and plays a crucial role in promoting rural revitalization and enriching local residents, contributing positively to economic development and social harmony.

2.Dafeng Traditional Chinese Medicine Bone Setting Therapy

The Dafeng Traditional Chinese Medicine (TCM) Bone Setting Therapy originated during the Ming and Qing dynasties, boasting a history of several centuries. It has been listed as an intangible cultural heritage of Jiangsu Province. This therapy is centered around the holistic view and syndrome differentiation principles of TCM, integrating bone-setting expertise with local wisdom.

Its origins are linked to the TCM schools of southern China, with practitioners already active during the Ming dynasty. By the Qing and Republican eras, families such as the Li and Wang clans had developed systematic experiences. Based on classics like the Huangdi Neijing (Yellow Emperor’s Inner Canon) and Shanghan Zabing Lun (Treatise on Cold Damage and Miscellaneous Diseases), it emphasizes the principle of “treating both muscles and bones,” combining internal and external therapies. Techniques include manual reduction, external application of herbal medicines, splint fixation, and functional exercises for treating bone injuries, focusing on restoring physiological functions.

This therapy employs unique methods known as the “Eight Methods”: palpation, reduction, alignment, traction, manipulation, grasping, pressing, and massage. These techniques are used to reset fractures and dislocations, such as painless resetting of limb fractures, combined with herbal poultices and heat therapy for soft tissue injuries to reduce swelling and alleviate pain. Personalized treatment plans are emphasized, supplemented by traditional exercises to promote recovery.

Compared to Western medicine, this therapy offers advantages such as minimal invasiveness, lower costs, and fewer complications when treating fresh fractures, joint dislocations, and chronic muscle injuries. Clinical data shows that the excellent recovery rate for distal radius fractures exceeds 90%, often eliminating the need for surgery.

Currently promoted by inheritors like Li Jimin and Wang Desheng, disciples continue the tradition through apprenticeship education and institutional training. The Orthopedics Department at Dafeng Traditional Chinese Medicine Hospital sees over 10,000 patients annually and engages in teaching and research. Recent innovations include digital recording and three-dimensional imaging technology. In 2021, Clinical Experience Collection of Dafeng TCM Bone Setting Therapy was published, 127 case studies and 43 herbal formulas.

As an integral part of traditional Chinese medicine, this therapy safeguards public health and provides a model for modernizing TCM. Its characteristics of simplicity, convenience, effectiveness, and affordability keep it actively involved in grassroots healthcare.

3. Dafeng Wheat Straw Mosaic Art

Dafeng Wheat Straw Mosaic Art is an intangible cultural heritage of Jiangsu Province, crafted from carefully selected and processed wheat straw through processes such as preparing the baseboard, cutting, heat toning (or scorching for color variation), and pasting. The subject matter of these artworks ranges widely, encompassing figures, landscapes, flowers, birds, fish, insects, and more. As a form of Chinese folk mosaic art, its craftsmanship originated in the ancient Central Plains region of China, with a history spanning over a thousand years. Over generations, it has developed into a sophisticated and distinctive art form.

Every year, when the wheat ears turn golden, the wheat straw is ready to be “painted.” These straws, which are the stems of the wheat plants, are used for creating the paintings, specifically the parts closest to the ear. After processing, the straws are cut into 1-centimeter-wide strips. Through techniques such as cutting, heat-blending, pasting, and coloring, intricate patterns can be created. Once framed, these pieces become true works of art. The beauty of wheat straw lies in its natural luster, so selecting suitable straws is the first step in the creation process. Straight, thick, and well-dried straws are chosen, then steamed and boiled to remove lipids. They are further processed to separate the “straw skin” from the “straw core.” The straw skin, with its glossy surface, is used to create the main subjects of the artwork, such as the feathers of birds, while the straw core, with its matte finish, is used for background elements like rocks and mountains. This combination gives the wheat straw paintings rich expressiveness and a distinctive texture.

Wu Yonglong, the inheritor of Dafeng wheat straw mosaic, is among the first batch of Three Brings talents in Jiangsu Province's local talent program. For over three decades, he has remained steadfast in his mission, striving to uphold traditional Chinese culture and the spirit of craftsmanship. Wu transforms ordinary wheat straw into culturally significant artworks that carry contemporary meanings. By leveraging his expertise, he has introduced the boundless charm of Chinese traditional culture to audiences both at home and abroad, fostering greater cultural understanding and consensus. His work contributes to strengthening cultural confidence and showcases the wisdom and dedication of intangible cultural heritage inheritors.

4. Shi Nai’an and the Legends of Water Margin

Water Margin culture stands as one of China’s most distinctive cultural traditions, tracing its origins to the failed peasant uprising at Mount Liang during the Song Dynasty. Folklore transformed the historical 36 outlaws into tales of 108 heroes, spread nationwide through oral storytelling, performing arts, and other folk mediums. By the Yuan Dynasty, these stories evolved into narrative ballads that captivated the populace.

During the late Yuan and early Ming periods, Shi Nai’an (c.1296-1370) synthesized these folk legends with historical accounts of the salt workers’ rebellion led by Zhang Shicheng in Baijuchang, northern Jiangsu, composing Water Margin, later enshrined as one of China’s Four Great Classical Novels. Born in Baijuchang, Hailing County (present-day Dafeng, Jiangsu), Shi Nai’an, courtesy name Zi'an and literary name Naian, attained the jinshi degree and briefly served as County magistrate of Qiantang before resigning due to conflicts with powerful officials. His tenure as an advisor to Zhang Shicheng's rebellion provided crucial material for the novel.

Given his short tenure as an official and the disdain for novelists in his era, Shi Nai'an’s life is not well-documented in formal historical records. However, numerous legends about his life and works are prevalent in regions such as Dafeng and Xinghua in Jiangsu, Suzhou, Xuzhou, Jiangyin, Yuncheng and Liangshan in Shandong, and Qiantang in Zhejiang. For instance, in Dafeng and Xinghua, it is said that Shi Nai'an often interacted with local residents while in seclusion, drawing inspiration for his creations. In Yuncheng, he reportedly served as an educational official, collecting many folk tales. His post-resignation life experiences in Qiantang also influenced the development of his work.

These folk legends significantly enriched the content of Water Margin culture. Through his personal experiences and insights gathered from the populace, Shi Nai'an elevated historical events into literary masterpieces. After its completion, Water Margin underwent multiple revisions, evolving from a straightforward tale of heroic uprisings to include thematic expansions including the court's amnesty offer and military campaigns against the Liao Dynasty, reflecting the author's profound reflections on loyalty and righteousness. As a result, Water Margin culture transcended literary boundaries to become a representative of traditional Chinese culture, integrating history, folklore, and philosophy. It continues to have a profound impact both domestically and internationally.

5.Caoyan Woodcarving

woodcarving is a unique folk handicraft in China, and the craft of woodcarving represents a distinctive skill within the realm of traditional folk art. In September 2014, Caoyan woodcarving, with the Caoyan Town Cultural Station as the project’s conservation body, was officially listed as a representative project of the intangible cultural heritage of Yancheng City.

The art of woodcarving has been passed down for generations, primarily expressed through human figures, though animal patterns are also represented. Liu Hongbin’s woodcarving from Caoyan, Dafeng, focuses mainly on portraiture. After years of dedicated study, he successfully created a woodcarving series featuring the “108 Heroes of Water Margin.” Liu Hongbin’s hand-carved wood art originated from the character designs of the 108 heroes from the novel Water Margin. He meticulously detailed each character’s features, costumes, expressions, and props according to the descriptions in the book, first sketching out the outlines and repeatedly refining them. Initially, there were instances of mistakes in drawing and carving, but through years of patient practice, experimentation with suitable materials, and specialized carving tools, he eventually completed the full set of the “108 Heroes of Water Margin” woodcarvings. His works have since been featured in media outlets such as Shanghai Oriental TV, Jiangsu TV, Hong Kong Satellite TV, Yanfu Dazhong Bao (Yancheng-Fu Public Newspaper), and Dafeng Daily. Yancheng City has honored him with the title of Master of woodcarving.

High-quality, premium-grade wood is selected for carving, with ginkgo and holly trees being particularly suitable. The tools include: Large chisels for shaping broad surfaces; medium chisels for the outlining and contouring of lines; small chisels for fine detailing of facial features such as eyes, ears, nose, mouth, and expressions. Small hammers provide additional force for deeper recessed areas. After the entire carving is completed, iron sandpaper is used to polish the surface, ensuring it is smooth and free of roughness.

Woodcarving holds unique artistic value. With its complex techniques and high production difficulty, it is truly a rare gem among folk handicrafts. The images created through woodcarving exhibit strong three-dimensionality, with exquisite and ingenious craftsmanship. The selection of materials and precision in tool use are highly refined. All wood-carved figures are durable and resistant to deterioration. Whether viewed from afar or up close, they appear ancient, elegant, lifelike, and full of vibrant expression and unique charm, providing great visual pleasure. They are truly a marvel among handcrafted artworks.

6.Limin Mulan Dragon Dance

Dragon dance, with a history spanning over 2,000 years, belongs to China’s cloth dragon dance tradition and represents a quintessential folk performance art prevalent in the Jianghuai region. It was listed in Yancheng City’s fourth batch of municipal intangible cultural heritage representative projects under the traditional dance category.

The Limin dragon dance was inherited by Ze Jinxiang, a veteran folk artist from Dazhong Town, Dafeng. In the 1980s, he passed the skills to Zhou Jingjiang. Before 2005, the dragon dance troupe primarily performed 108 routine sets commonly taught by Ze. In August 2005, Zhou underwent a week-long professional training program led by Professor Lin from Nanjing Normal University (NNU), systematically mastering 23 standardized movements and optional routines, marking a new developmental phase for Mulan dragon dance. In April 2005, Dazhong Town government convened a special meeting to prepare for Yancheng’s inaugural dragon dance competition. The gathering addressed the current state of dragon dance and protective measures, explicitly advocating for “safeguarding the Mulan dragon dance brand and promote distinctive folk culture.” Subsequently, the town’s cultural station designated Mulan dragon dance as a key feature of community cultural activities for long-term preservation. Limin Village established a dragon dance management group, overseen by then-Party branch secretary Zhou Jingjiang. As a second-generation inheritor, Zhou meticulously trained a group of young women, injecting youthful vitality into the troupe. Yang Xiaocui, the village’s women’s director, pursued provincial-level training and emerged as a new-generation inheritor. Today, young members are assembled for intensive training during agricultural market festivals. They actively compete at all levels, volunteer for district and street-organized events (e.g., group New Year greeting parades, folk festival performances), and offer complimentary shows for villagers during traditional holidays. Recently, with tourism growth, the troupe regularly participates in cultural events like the Plum Blossom Festival and Hengbei Pear Blossom Festival, allowing dragon dance to exhibit fresh vitality through cultural-tourism integration.

7.Dongtai Hair Embroidery

Dongtai hair embroidery, also known as “Mo Xiu (monochrome embroidery)”, is a traditional embroidery technique prevalent in Dongtai, Yancheng City, Jiangsu Province. It uses strands of hair (30 cm or longer) from young women in coastal regions as“thread” and employs traditional Suzhou embroidery stitching methods. Originating from the Tang Dynasty custom of pious women embroidering Buddha images with their own hair, this art form has a history spanning more than 1,300 years. Today, it is mainly distributed in Dongtai and its surrounding areas of Yancheng City. In May 2021, it was officially recognized by the State Council as part of the fifth batch of national intangible cultural heritage.

Hair embroidery is a handicraft made using high-quality human hair, distinguishing itself from other embroidered crafts due to its unique materials. It possesses characteristics such as naturally decay-proof, moth-resistant, and colorfast, showcasing an ancient, elegant, and lushly beautiful style. Dongtai hair embroidery utilizes locally sourced virgin hair from young women in coastal regions, which must be shiny, soft, durable, and have strong tensile strength. The craftsmanship involved in hair embroidery is a comprehensive art form that integrates elements from calligraphy, painting, printing, embroidery, and mounting.

Over time, Dongtai hair embroidery has evolved from the original “single-color ink embroidery” to include “colorful embroidery”, “double-sided embroidery”, and “double-faced heterogeneous embroidery”. To enhance the expressiveness of hair embroidery works, artisans have expanded traditional stitching techniques to include rolling stitch, spinning stitch, wrapping stitch, layering stitch, applying, randomizing, shading, and outlining—over 30 different types of stitches are used flexibly depending on the piece, applied with artistic discretion to achieve nuanced variations in tone, texture, and perspective.

The production process of Dongtai hair embroidery is complex and often requires collaboration among various artisans. Initially, designers create the artwork drafts, followed by painters who trace these designs onto fabrics like taffeta stretched over frames. Then, embroiderers select high-quality human hair, thread needles, and meticulously stitch to create intricate and beautiful scenes. Afterward, the finished pieces are mounted, transforming them into exquisite handicrafts. The transmission of Dongtai hair embroidery skills follows a master-apprentice model, with most artisans concentrated in Dongtai, Yancheng.

Dongtai hair embroidery features a wide range of subjects and styles, producing a continuous stream of exquisite works. These works have frequently appeared on CCTV’s treasure-hunting shows, and one notable long scroll, “Giuseppe Castiglione’s One Hundred Horses”, was appraised by experts as a national treasure. Dongtai has been named China’s Folk Art (Hair Embroidery) Town four times by the former Ministry of Culture (MCT) and the Ministry of Culture and Tourism.

Dongtai hair embroidery is a comprehensive skill involving calligraphy, painting, printing, embroidery, and engraving. With its rich history and distinctive regional cultural features, it embodies the profound essence of traditional Chinese fine arts. Appreciated by connoisseurs, it serves as an excellent collectible and gift item, effectively promoting local economic development and employment. Endowed with both cultural and commercial appeal, it holds significant social and economic value.

8.The Legend of Dong Yong

The earliest records of the Legend of Dong Yong appear in Biographies of Filial Sons (Illustrated) by Liu Xiang of the Western Han Dynasty. Later, Cao Zhi’s Ode to the Divine Lingzhi (a mythical herb in Chinese folklore) from the Three Kingdoms period and Gan Bao’s In Search of the Supernatural from the Eastern Jin Dynasty also documented the tale. Gan Bao’s version, with its emphasized theme of filial piety and complete plot (“using a deer to pull a cart for his father,” “selling himself to bury his father,” and the celestial maiden’s marriage “to help repay his debts”), became widely circulated in rural China. Over two millennia, it served as the prototype for adaptations and literary works, exerting profound influence. Combining moral edification and romantic allure, the legend resonated with the public’s desire for social stability and marital happiness. Its artistic blend of fantasy and reality captivated audiences. Through oral transmission, the story evolved regionally and chronologically, often leaning toward romance, yet its core themes and narrative archetype remained unchanged.In the 20th century, the tale inspired popular literature (e.g., rap performance, traditional opera) and later film adaptations, such as the Huangmei opera movie The Heavenly Match , which achieved nationwide acclaim.

During its more than 2,000 years of transmission, the Dong Yong legend has continuously integrated with local community life. Influenced by popular sentiment and folk interpretations, regionally distinctive versions of the legend have emerged, giving rise to local customs and leaving behind cultural relics associated with Dong Yong’s life—such as monuments, steles, villages, and place names. Counties and cities including Wanrong in Shanxi Province, Dongtai in Jiangsu Province, Wuzhi in Henan Province, and Xiaogan in Hubei Province not only possess physical sites linked to Dong Yong, but also record his story in local gazetteers, each claiming him as a native son. For example, in Boxing, Shandong, there is a Dongjiazhuang village and Dong Yong’s tomb; in Xiaohuai Village, Wanrong County, Shanxi, a plaque inscribed with Hometown of Dong Yong is displayed, and locals still weave a traditional wedding union cloth; in Wuzhi County, Henan, grand temple fairs are held annually on the third day of the second lunar month and the tenth day of the eleventh lunar month to honor Dong Yong as a model of filial piety; in Dongtai City, Jiangsu, there is a Dongjiashe village, which was already recorded in the Southern Song Dynasty text Fangyu Shenglan as the “former residence of filial son Dong Yong.” This phenomenon of snowballing accumulation—where multiple regions contribute new elements through continuous retelling and association—is a common characteristic of folk legends.

The Dong Yong legend contains valuable historical and literary materials, offering significant insights for the study of China’s social, economic, political, and cultural development across different historical periods, especially in the realm of literature and the arts. Moreover, its educational function continues to hold practical relevance today, contributing to the construction of socialist spiritual civilization and the building of a harmonious society.

9.Xuhe Acrobatics

Xuhe acrobatics is a traditional Han Chinese acrobatic art form originating from Xuhe Town, Dongtai City. With a history spanning 120 years, it evolved from the “Jianhu Shiba Tuan” branch of Yancheng acrobatics. The art form was named “Xuhe Acrobatics” after the collaboration and development between the Yao Family Acrobatic Troupe” and the direct inheritors of Jianhu acrobatics, the “Wang Kuai Acrobatic Troupe. In 2023, it was listed in the fifth batch of provincial-level intangible cultural heritage representative projects by the Jiangsu Provincial Government.

Over 130 years ago, Yao Xian’gen, the eldest son of a farming family in Lianfu Village, Xuhe Town, left home to seek his fortune due to economic hardship. He studied acrobatics at a Jianhu acrobatic troupe and, upon returning home, organized fellow villagers to learn acrobatic performances, founding the “Yao Family Troupe.” Later, he collaborated with the “Wang Kuai Acrobatic Troupe” from Xuhe Village, jointly establishing “Xuhe Acrobatics” on the land of Yancheng.

In the early days, Xuhe acrobatics were performed by artists during agricultural off-seasons as a means of livelihood. Before the founding of the People's Republic of China, performances were typically divided into routes covered by the Yao Family Troupe and the Wang Kuai Troupe. After merging, Xuhe acrobatics began performing as an integrated troupe.

During the War of Resistance Against Japan, the founder of Xuhe acrobatics, Mr. Yao, offered his residence as a temporary command post for General Su Yu, forming an intimate bond akin to fish and water with him. Subsequent generations of performers followed the Party’s guidance, even during national disasters when the Dongtai County Acrobatic Troupe was streamlined. However, successors of Xuhe acrobatics continued to establish private performance groups, preserving and passing down this art form. They frequently undertook missions to perform in villages, earning widespread acclaim from the public.

Over its century-long history, the Yao Family Troupe has seen five generations of inheritors. The first two generations laid the social foundation, while the third generation, represented by Yao Deyun, brought significant development to the art form. Born in October 1944, Yao Deyun became a member of the Dongtai Municipal Committee of the Chinese People's Political Consultative Conference. He began learning acrobatics at age six, debuted on stage at eight, joined the county acrobatic troupe at fourteen, started teaching acrobatics at twenty-two, and established the Xuhe Acrobatic Troupe at thirty-five. He introduced and created many acrobatic acts such as large springboards, flying people over bridges, and equestrian skills, elevating the level of Xuhe acrobatics to national standards. His troupe included nearly ten members like Yao Cuilan.

The fourth-generation inheritor is Yao Hui, born in August 1968. After serving in the military from November 1989 to 1993, he took over leadership of the troupe from his father, reorganizing it into a new group combining acrobatics and song-and-dance performances. For eight consecutive years, they undertook government-sponsored village performances. Since 2000, Yao Hui has also organized disabled acrobatic performance groups, delivering over 350 shows in villages. His troupe includes nearly thirty members like Yao Qin.

10.Traditional Chinese Orthopedic Therapy (Mei’s Orthopedic Treatment)

Mei’s Orthopedic Treatment originated during the Kangxi era of the Qing Dynasty. The Mei family originally hailed from Yangzhou. At the end of the Qing Dynasty, the ninth-generation inheritor, Mei Yijun, served as a court-appointed physician in the Dongtai County government, introducing Mei’s Orthopedic Treatment to Dongtai. Adhering to the family motto morality supports medicine, Mei Yijun earned widespread acclaim among neighboring villages. In the early days of the People's Republic of China, the tenth-generation inheritor, Mei Shanpu, used Mei’s orthopedic techniques and secret formulas to benefit local people at public hospitals. After the reform and opening-up policy, the eleventh-generation inheritor, Mei Zicheng, along with his son Mei Peisheng, established the Mei’s Orthopedic Hospital, gaining fame across Dongtai and surrounding counties.

Upon succeeding as the twelfth-generation inheritor, Mei Peisheng set the hospital’s guiding principle as integrating traditional Chinese and Western medicine, comprehensive development, emphasizing orthopedics, and establishing a reputable medical institution. He transformed Tongren Hospital in Dongtai (now Dongtai Mei’s Integrated TCM-Western Medicine Hospital) into a comprehensive hospital with Mei’s Orthopedics as its flagship department. Expanding departments such as orthopedics, general surgery, internal medicine, and traditional Chinese medicine, he recruited experts from both TCM and Western medicine backgrounds, steadily growing the medical team. Additionally, the hospital established a new imaging center center was built, equipped with advanced devices like a 16-slice spiral CT, C-arm machine, high-end E6 four-dimensional color ultrasound, and MRI, ensuring precise medical care.

In orthopedic techniques, Director Mei Peisheng inherited traditional methods but did not limit himself to them. Instead, he flexibly employs treatment approaches based on patient conditions through expert consultations. This includes traditional ancestral manual reduction techniques, minimally invasive surgery, or open surgery. Ward One focuses on conservative treatments, while Ward Two handles minimally invasive and open surgeries. Whether surgical or conservative, all treatments follow the principles of integrating TCM and Western medicine, complementing each other, ensuring proper alignment and rapid bone healing, addressing both symptoms and root causes to reduce patient suffering and lower medical costs.

Regarding orthopedic medications, Director Mei Peisheng aimed to accelerate callus growth in fracture patients and improve the efficacy for bone disease patients. Based on ancestral remedies and medicated plasters, combined with systematic learning from Nanjing University of Chinese Medicine and years of practical experience, he improved the ancestral plasters using rich medical theories. This led to the development of the next generation of Mei’s modified plasters, including Mei’s Bone Injury Patch and Mei’s Bone Disease Patch. These patches are tailored to individual patient needs, clean and comfortable, overcoming the limitations of traditional black plasters such as lack of specificity, small application areas, potential allergies, and slow transdermal absorption. Furthermore, he developed two types of traditional Chinese medicine decoctions—Bone Growth Three-Step Formula and Bone Nourishing and Meridian Unblocking Sixteen Formulas—each customized for different patients. Combined with appropriate physiotherapy, these formulas promote recovery from fractures and bone diseases, minimizing patient discomfort. It is widely recognized that the risk of femoral head necrosis after femoral neck fractures is high; however, under targeted treatment with Mei’s plasters and decoctions, this risk has significantly decreased,drawing a steady stream of patients.

Through continuous innovation and integration of traditional and modern medical knowledge, Mei’s Orthopedic Treatment has become a trusted and effective approach in the field of orthopedics, providing comprehensive care and relief to countless patients.