Shi Yan
01 · Lineage & Regional School
Shi Yan, Male, Han, from Jinzhou, Liaoning, is a sixth-batch national representative bearer of Tin Carving Craftsmanship (Ⅶ-62). The tradition is documented in Jinzhou, Liaoning. Within the regional tradition and school record of Tin Carving Craftsmanship in Jinzhou, Liaoning: Jinzhou tin carving is a traditional carving art mainly circulated in Jinzhou City, Liaoning Province; it has a history of more than 140 years to date, with Linghe District as its core transmission area. According to the Yang Family Genealogy, the Yang family originated from Yunnan and later lived in Kaifeng, Henan, Beijing, and elsewhere; during the Tongzhi reign of the Qing dynasty, Yang Jingyu obtained a post in the Yuheng Qinglishi, specializing in the carving of palace tin vessels, and became the first-generation inheritor of the Yang family's traditional tin carving; thereafter his descendants made their way to the Northeast, settled in Jinzhou, and the art of tin carving thereby took root in the region of western Liaoning. The traditional tin carving circulated in the Jinzhou region of western Liaoning was introduced by the Yang family. As dynasties changed and the family declined, the branches of the Yang clan scattered among the people, each seeking its own way to make a living.
02 · Mastery & Signature Works
The bearer record for Shi Yan is anchored in the documented technical standards of Tin Carving Craftsmanship in Jinzhou, Liaoning. Within the documented technical tradition of Tin Carving Craftsmanship in Jinzhou, Liaoning: Jinzhou tin carving is a traditional carving art mainly circulated in Jinzhou City, Liaoning Province; it has a history of more than 140 years to date, with Linghe District as its core transmission area. In history, tin was the fourth precious metal after gold, silver, and copper; with its characteristics of being "bright as silver and clear as a mirror," the works carved from it were generally made for imperial or official use. Chinese traditional tin carving has a long history; inferred from the tin blocks and tin vessels excavated at the Yin ruins in Henan, the technique of tin carving can be traced back to the Shang and Zhou dynasties, and it began to flourish among the people during the Ming and Qing dynasties. According to the Yang Family Genealogy, the Yang family originated from Yunnan and later lived in Kaifeng, Henan, Beijing, and elsewhere. During the Tongzhi reign of the Qing dynasty, Yang Jingyu obtained a post in the Yuheng Qinglishi (one of the four offices under the Ministry of Works), specializing in the carving of palace tin vessels; he thereby became the first-generation inheritor of the Yang family's traditional tin carving. Thereafter, his descendants made their way to the Northeast, settled in Jinzhou, and from then on the art of tin carving took root in the region of western Liaoning. Jinzhou tin carving must use pure white tin of 99.90 percent or more produced in Yunnan, with the addition of 0.02 percent copper, which enhances the strength of the tinware without affecting its ductility. Its process flow is relatively complex, and precisely mastering each process step is the key to success. Its main process steps include dian tong (copper spotting), plate casting, drafting, sheet-metal blanking, planing, welding, zhanjiao (applying engraving adhesive), carving, adhesive removal, inlaying, and polishing. After more than a century of transmission and development, today's inheritors of Jinzhou tin carving have not only inherited traditional techniques such as forging, chiseling, molding, carving, welding, inlaying, and planing, but also master multi-material welding and combination techniques such as sunken relief, stacked-weld carving, line engraving, relief, tin repair of porcelain and purple-sand wares, carving over the repair, and tin hung with copper; they have researched and revived the "tin-wrapped jade" technique lost for a hundred years, and gradually developed a unique "chiseled tinware" technique, giving the works more three-dimensional forms that are simply and delicately wrought, natural in restraint and release, and harmonious in proportion. Representative works include the Great Bell of Yongle, Lotus, the Olympic Treasure Ding, the Hunting-Pattern Incense Burner, and Buddha Light Shining Everywhere. As one of the "Twin Marvels of Jinzhou," Jinzhou tin carving synthesizes the delicate refinement of the southern school of tin carving with the simple naturalness of the northern school; it is an important component of traditional tin-carving art and of Jinzhou's regional culture, a crystallization of Chinese wisdom, and an important element of traditional culture. Representative repertoire, works and technical entries recorded for the project include: "": "Archival Record of Process Steps": Its process flow is relatively complex, and precisely mastering each process step is the key to success. "Adding copper to the tin": Its tin of over 99.90 per cent purity takes 0.02 per cent copper, stiffening the metal without spoiling its ductility. "Sheet cutting and assembly": Casting plate, drafting, cutting sheet, planishing, soldering, chasing, carving, glue removal, inlay and polishing — every stage must be exact.
Archival Record of Process Steps
Its process flow is relatively complex, and precisely mastering each process step is the key to success.
Adding copper to the tin
Its tin of over 99.90 per cent purity takes 0.02 per cent copper, stiffening the metal without spoiling its ductility.
Sheet cutting and assembly
Casting plate, drafting, cutting sheet, planishing, soldering, chasing, carving, glue removal, inlay and polishing — every stage must be exact.
Sunken relief and chasing
Its inheritors add sunken relief, built-up welding, inlay and repaired techniques such as lost tin-wrapped jade, and a distinctive chased-tin finish.
03 · Transmission & Safeguarding Status
In 2025, Shi Yan was announced in the sixth batch of national representative bearers for Tin Carving Craftsmanship, with Jinzhou, Liaoning as the declared area. Within the documented safeguarding record of Tin Carving Craftsmanship in Jinzhou, Liaoning: The project was inscribed in the national inventory in 2021 (batch 5), with Jinzhou, Liaoning as its declared area, and Jinzhou Linghe District Sports Tourism Service Center as its safeguarding unit. Since the project was inscribed in the national inventory, its declared area and safeguarding unit have carried out documentation, transmission and presentation within the national safeguarding framework. Together, the inventory record and the project archive form the public documentary basis for the bearer’s transmission practice.
04 · Associated Heritage Item Dossier
Historical origin
The traditional tin carving circulated in the Jinzhou region of western Liaoning was introduced by the Yang family. As dynasties changed and the family declined, the branches of the Yang clan scattered among the people, each seeking its own way to make a living.
05 · Fellow National Bearers Lineage
National representative bearers recorded under the same item code, ordered from the first to the sixth batch. Batch order is not a teacher–student relationship.
| Bearer | Declared area | Roster code | Relation |
|---|---|---|---|
| Ying Yegen | Yongkang, Zhejiang | 03-1282 | Other regional school |
| Sheng Yiyuan | Yongkang, Zhejiang | 05-2674 | Other regional school |
| Liu Jianqiang | Lianhua, Jiangxi | 05-2675 | Other regional school |
| Shi Yan | Jinzhou, Liaoning | — | This page |
| Wang Shengliang | Laiwu, Shandong | — | Other regional school |
06 · Archival Sources & Bibliography
This static English edition is rendered at the edge for search engines, AI crawlers and readers without JavaScript. Compiled from official national representative bearer archival records and the associated project dossier, organized by topic and translated into English. 阅读中文版。