By outdoor-nature-child.com When discussing nut carving, many people’s minds immediately drift to the classical text “Record of the Nut Boat,” found in middle school textbooks. The piece vividly portrays the nut carver Wang Shuyuan and his exquisite creation, the “Nut Boat of Dongpo’s Journey to Red Cliffs,” where each tiny figure comes to life with remarkable detail and charm.
This raises an intriguing question: Does such an art form, deeply rooted in tradition and craftsmanship, still exist today?
Surprisingly, it does. In today’s Jiangsu province, within the Wu Zhong district of Suzhou, lies a village known as “China’s Nut Carving Capital”—Zhoushan Village. Nestled by the shores of Taihu Lake and beneath the Qionglong Mountains, Zhoushan Village is the birthplace of modern Chinese nut carving. In 2008, Zhoushan nut carving was officially recognized as part of the national intangible cultural heritage list. As this centuries-old craft navigates through time, how does it draw younger generations of artisans to ensure its future survival? A reporter from China Youth Daily stepped into this lakeside village to discover more.
**Revitalizing Ancient Craftsmanship**
In Zhoushan Village, rows of small nut carving shops create a bustling atmosphere filled with life.
Within the studio of Zhou Jianming, a national intangible heritage inheritor nearing the age of seventy, he expertly holds an olive pit in one hand and a carving knife in the other, surrounded by an array of specialized tools. Having dedicated 50 years to this craft, Zhou has witnessed the ups and downs of Zhoushan nut carving, evolving from an ambitious young man into an elder with graying hair. Yet, he embraces his work with youthful energy, often carving for entire days, exclaiming, “I get restless if I don’t pick up my knife for three days.” Reflecting on the village’s storied past, Zhou reminisces about his earlier travels and adventures.
More than 50 years ago, the Zhoushan Carving Factory was established on the foundations of local nut carving traditions, later renamed the Zhoushan Arts Factory. Zhou, a recent high school graduate, joined the factory to learn the craft.
In 1978, just a year after the college entrance examination system was reinstated, Zhou was admitted to Nanjing Normal University. Unable to part with his carving tools, he brought them along to campus. After graduating, he returned home and accepted a position with the Wu County government. However, he surprised many by requesting to teach in a local high school, reasoning that “teachers have summer and winter vacations, allowing for ample time to focus on creation.”
Unfortunately, due to poor sales and a sluggish market, the Zhoushan Arts Factory announced closure in 1982, leaving many artisans without work. Determined to maintain the craft, Zhou began training new apprentices, even traveling to rural areas in Anhui Province to recruit talent. “The conditions were tough; we slept on the floor and ate basic meals, but after much persuasion, I managed to gather a group of about ten young people,” he explained.
To support them, he subsidized their monthly wages for over half a year. Gradually, some of these apprentices followed him to Suzhou, becoming the first generation of his students.
As the nut carving industry continued its decline into the 1990s, Zhou made a bold decision to venture out alone, searching for new markets. He stumbled upon an arts magazine featuring the recently opened antique market in Zhengzhou. “I figured it was a transportation hub—this could work!” he recalled.
Without hesitation, he took a train north, only to find himself met with skepticism regarding nut carving. As he was turned away, he journeyed westward through Luoyang and Kaifeng, only to sell not one piece.
In early winter of 1998, on an ordinary Wednesday, Zhou arrived at Beijing West Railway Station and headed to the Panjiayuan Antique Market in search of luck. As the day wore on, many vendors began closing up shop, leaving the streets unusually quiet. A kind shopkeeper suggested he try the bustling Tianjin Shenyang Road instead.
That night, Zhou traveled to Tianjin and checked into a small hotel. The next morning, the chants of vendors awakened him. Upon stepping outside, he was met with an overwhelming sea of stalls blocking the pathway. Renting a small table for thirty yuan, he was astonished as his nut carvings quickly sold out, time and again.
News of the newfound popularity of Zhoushan nut carving soon reached the village, prompting many locals to return to the craft and enlist Zhou as a vendor. Over the following years, Zhoushan nut carving began to spread to neighboring provinces and cities, gaining even greater exposure thanks to the internet.
Over the decades, the path towards prosperity through nut carving widened enormously. Today, around 70% of nut carving products in China originate from Zhoushan Village, with approximately 3,200 people employed in the industry. In 2023, the village’s output value exceeded 400 million yuan, attracting over 250,000 tourists.
**Mastery in Minuscule Detail**
Today, Zhoushan Village boasts over 500 nut carving studios and exhibition rooms, with charming Suzhou-style architecture enhancing its appeal. Among these, a young nut carver born in the 1980s, Fan Ting, has established her own workshop.
She recalls her childhood fondly—her grandfather worked as a chef at the Zhoushan Carving Factory, and their drawer was consistently filled with nut carvings gifted by the old artisans. “At the time, I thought the patterns were somewhat special,” she reminisced.
“However, I was essentially ‘pushed’ into the world of nut carving,” Fan admits. “Our family wasn’t well-off, and while I was accepted into university, I ultimately decided to train in a craft.”
Calculating the years, Fan has been immersed in nut carving for 18 years. Each day, she would ride an electric bike for an hour, regardless of the weather, to learn from her master.
Then, as Zhoushan nut carving gained market recognition and prices soared, clients from northern China traveled great distances to find quality pieces. “Some clients would sit beside me, eagerly waiting to snatch up my carvings the moment I finished,” she recalls.
Despite the bustling market, Fan remained focused on her teachings. Sitting with her mentor daily, she diligently practiced for eight to nine hours, seeking guidance whenever she faced challenges. After she went independent, she would often bring her finished products to her master for critique.
With each careful cut and chisel, the raw olive pits transformed into lively creations under Fan’s hands. Her designs evolved, ranging from traditional themes to figures, animals, landscapes, and the cherished nut boats. When it came to human figures, she understood the nuances: “The expressions must evoke spirit, the movements should appear natural, and the clothing needs to flow gracefully.”
“I aim to infuse my life experiences into my work; nut carving has become a way to elevate my living,” Fan emphasizes. This philosophy drives her creativity, especially when encountering the grand frescoes of flying celestial beings at the Mogao Caves in Dunhuang. “I couldn’t wait to replicate the magnificent scene on a nut.”
Thus, her “Flying Celestial” series emerged, showcasing tiny figures carrying flowers, playing musical instruments, or soaring through the clouds—a blend of grace and poetry that tells timeless tales.
However, Fan has noticed a growing concern: the rise of machine carving threatens traditional techniques. “Machine carving is highly efficient and costs significantly less than hand carving, and some unscrupulous sellers market machine-made pieces as handcrafted,” she notes, expressing the frustration of many artisans who feel helpless.
Xu Jinyi, Secretary of the Zhoushan Nut Carving Industry Association’s Party Branch, has recognized this challenge. “On one hand, we strive to protect consumers’ right to know and encourage industry self-discipline by clearly labeling any machine-made items. On the other hand, we’re collaborating with official quality inspection departments to issue quality certificates, ensuring that consumers can buy with confidence, and reinforcing the Zhoushan nut carving brand,” Xu stated.
Fan remains optimistic. “Zhoushan nut carving has endured many trials. Should my peers and I choose to dedicate ourselves to this craft, we must believe in its endless vitality,” she affirms, echoing the motto etched at the entrance of her studio—”Stay True to the Original Intention and Uphold Craftsmanship.”
**Bringing Cultural Heritage Home to the Young**
In August of this year, the “Wu Zhong Craftsmen: Intangible Cultural Heritage Goes Abroad” event showcased the talents of 17 artisans in Malaysia, offering expatriates a taste of Suzhou’s cultural heritage. Among them was 85-born nut carver Xu Jingjian, making sure the authentic essence of Zhoushan nut carving was “seen” on the global stage.
Xu was born in the heart of nut carving culture and fortuitously became neighbors with master carver Xu Zhongying, growing up amid the whir of machines grinding olive pits. Compared to other children, he was patient, disciplined, and resilient.
“Nut carving exudes an irresistible charm,” he shares. Since the moment he encountered the craft, his passion has only deepened. Unbeknownst to him, during a particularly hot summer, he refrained from using air conditioning, losing track of time as he carved for hours, oblivious to the sweat pouring down his back.
Eager to explore the myriad possibilities of this intangible heritage, Xu aims to carve out his own niche. He is particularly proud of a unique sculpted teapot piece. Traditionally, the lid and body are inseparable, but he wondered, “Can I create a nut carving teapot with a removable lid?”
Drawing from his background in mechanical studies, he ingeniously applied spiral structures, sculpting the intricate threads with an astonishing accuracy of approximately 1.5 millimeters.
At the same time, Xu is mindful of how to engage more young people with the art of nut carving. He’s observed an interesting trend: some nut carvers, aiming to cater to a younger demographic, have started producing cartoon and anime-styled carvings, much to the disdain of some veteran artisans who view such efforts as “irreverent.”
“We need to recognize that the transmission of intangible heritage is aimed at the younger generation, and thus this craft must evolve and adapt while embracing innovation while holding onto the power of classical techniques,” Xu asserts.
To further promote the Zhoushan nut carving brand, Xu has emerged from behind the scenes, launching experiential workshops at various educational institutions and communities. This autumn, he was invited to teach at Nanjing University’s Suzhou campus, imparting the skills and cultural significance behind nut carving.
Currently, he has devised a comprehensive curriculum, where participants can learn to create a respectable nut carving piece in just around ten classes. He finds it gratifying that many young people join each class, putting down their phones to embrace this unique heritage craft.
Zhou Libin, the village’s Party Secretary, notes that in light of the thriving Zhoushan nut carving industry, the government is ramping up support and investment. Recently, efforts have been made to enhance and upgrade the village, striving to uphold the title of “China’s Nut Carving Capital” with high standards.
As artisans reflect on their strengths and weaknesses, they are adjusting their development models to collectively push the nut carving industry towards a more scaled, intensive, and branded future.
“Zhoushan nut carving is a signature of our village, a legacy that continues to thrive despite the passage of time. As we look towards the future and engage with the youth, Zhoushan nut carving is ready to rejuvenate and set sail once more,” Zhou stated.