Qingyurong
01 · Lineage & Regional School
Qingyurong, Female, Han, from Chengdu, Sichuan, is a sixth-batch national representative bearer of Chengdu Qiyi (Ⅷ-56). The tradition is documented in Chengdu, Sichuan. Within the regional tradition and school record of Chengdu Qiyi in Chengdu, Sichuan: Chengdu lacquer art is preserved in the Qingyang District area of Chengdu, where together with the local bamboo, wood, and ivory carving trades it forms the traditional pattern of the 'Three Treasures of Chengdu'; Chengdu Lacquerware Craft Factory Co., Ltd. is the project's protecting unit. Chengdu has been a collecting and distributing center for silk weaving and lacquerware in the southwest since ancient times; since the Yuan, Ming, and Qing dynasties, lacquer craftsmen have handed down their line under street-quarter names, dwelling together along a single lane within the city. During the Tang, Song, Yuan, Ming, and Qing dynasties, Chengdu lacquer art developed continuously and had a considerable influence on other Chinese lacquer-art schools.
02 · Mastery & Signature Works
The bearer record for Qingyurong is anchored in the documented technical standards of Chengdu Qiyi in Chengdu, Sichuan. Within the documented technical tradition of Chengdu Qiyi in Chengdu, Sichuan: Chengdu lacquer art is one of China's earliest lacquer arts and is preserved today in Qingyang District of Chengdu. By the Warring States and Qin-Han periods, Chengdu lacquer art tended toward prosperity; as the Records of the Grand Historian puts it, 'a thousand lacquered wooden vessels' and 'a thousand dou of lacquer.' Yang Xiong's 'Fu on the Shu Capital' also states: 'carved and incised vessels; a hundred craftsmen and a thousand workers.' Chengdu lacquer art has numerous process steps, meticulous execution, and long production times; it is world-renowned for decorative techniques with strong regional character, such as carved inlay with filled color, carved fill with shadow pattern, engraved tin with silken luster, drawn-knife needle engraving, and hidden-flower mottled coating. Chengdu lacquerware uses natural raw lacquer and solid wood as raw materials, without restriction on body forms, with fine workmanship; it is a handmade product combining artistic and practical qualities. It is known for its exquisite splendor, dignified elegance, fine and moist luster, and brilliant patterns; it can hang in halls to display magnificence, yet equally serve as a refined and durable everyday item. Chengdu lacquerware is both an important witness to the customs of successive dynasties and an envoy of cultural exchange, as well as an important carrier of traditional Chinese aesthetic concepts. Representative repertoire, works and technical entries recorded for the project include: "Archival Records of Process Steps": Chengdu lacquer art has numerous process steps, meticulous execution, and long production times; it is world-renowned for decorative techniques with strong regional character, such as carved inlay with filled color, carved fill with shadow pattern, engraved tin with silken luster, drawn-knife needle engraving, and hidden-flower mottled coating.
Archival Records of Process Steps
Chengdu lacquer art has numerous process steps, meticulous execution, and long production times; it is world-renowned for decorative techniques with strong regional character, such as carved inlay with filled color, carved fill with shadow pattern, engraved tin with silken luster, drawn-knife needle engraving, and hidden-flower mottled coating.
Core Technique I
Chengdu lacquer art is one of China's earliest lacquer arts and is preserved today in Qingyang District of Chengdu.
Core Technique II
By the Warring States and Qin-Han periods, Chengdu lacquer art tended toward prosperity;
Core Technique III
as the Records of the Grand Historian puts it, 'a thousand lacquered wooden vessels' and 'a thousand dou of lacquer.' Yang Xiong's 'Fu on the Shu Capital' also states: 'carved and incised vessels;
03 · Transmission & Safeguarding Status
In 2025, Qingyurong was announced in the sixth batch of national representative bearers for Chengdu Qiyi, with Chengdu, Sichuan as the declared area. Within the documented safeguarding record of Chengdu Qiyi in Chengdu, Sichuan: The project was inscribed in the national inventory in 2006 (batch 1), with Chengdu, Sichuan as its declared area, and Chengdu Qiqigongyi Factory Co., Ltd. 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
During the Tang, Song, Yuan, Ming, and Qing dynasties, Chengdu lacquer art developed continuously and had a considerable influence on other Chinese lacquer-art schools.
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 |
|---|---|---|---|
| Song Xiping | Chengdu, Sichuan | 01-0172 | Same declared area |
| Yin Liping | Chengdu, Sichuan | 01-0173 | Same declared area |
| Qingyurong | Chengdu, Sichuan | — | This page |
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。