Lai Jianhua
01 · Lineage & Regional School
Lai Jianhua, Male, Han, from Ganzhoushishicheng, Jiangxi, is a sixth-batch national representative bearer of Inkstone Making Craftsmanship (Ⅷ-133). The tradition is documented in Ganzhoushishicheng, Jiangxi. Within the regional tradition and school record of Inkstone Making Craftsmanship in Ganzhoushishicheng, Jiangxi: The Shicheng inkstone craft is concentrated in Shicheng County, Ganzhou City, Jiangxi Province and its surrounding villages. Shicheng County lies in the southeast of Jiangxi and the northeast of Ganzhou; named for being ringed by mountains and many stones, towering up like a city wall, it is one of the 16 purely Hakka-inhabited counties of southern Jiangxi. The county lies on the western side of the central-southern segment of the Wuyi Mountain metallogenic belt, with favorable ore-forming conditions; the inkstone stone hidden in deep ravines is as smooth as jade and feels like a child's skin to the touch, producing ink quickly without harming the brush tip. Many mountains, many stones, and a Hakka-inhabited population—these three conditions stacked together shaped the character of this inkstone type. Shicheng inkstones began in the Northern Song dynasty and are renowned for their rich natural colors and unique patterned designs; they were once an inkstone presented as tribute. Shicheng inkstones divide into free-form and carved types: the former shapes according to the stone, ornaments according to the pattern, inscribes according to the inkstone, and strives for natural completion, while the latter has ingenious conception, fine and meticulous carving, and abundant elegance—the practice and taste within one province thus divide. The local government has built a distinctive exhibition hall, with a Shicheng inkstone display room, a creation studio, and transmission points, to promote the craft's protection, transmission, and development; inheritors at all levels pass on the Shicheng inkstone craft through master-apprentice teaching in production practice, and also promote the project by entering communities and campuses in various forms. In terms of ceremonial function, the Shicheng inkstones of this place combine both appreciative and practical aspects, circulating as elegant gifts that literati and scholars give to relatives and friends or to friendly nations; the inkstone travels with the person, and the craft is thus carried beyond its place of origin. Shicheng inkstones began in the Northern Song dynasty and are renowned for their rich natural colors and unique patterned designs; they were once an inkstone presented as tribute.
02 · Mastery & Signature Works
The bearer record for Lai Jianhua is anchored in the documented technical standards of Inkstone Making Craftsmanship in Ganzhoushishicheng, Jiangxi. Within the documented technical tradition of Inkstone Making Craftsmanship in Ganzhoushishicheng, Jiangxi: The Shicheng inkstone making craft is a traditional manual skill spread through Shicheng County, Ganzhou City, Jiangxi Province. Shicheng County lies in the southeast of Jiangxi and the northeast of Ganzhou; named for being 'ringed by mountains and many stones, towering up like a city wall,' it is one of the 16 purely Hakka-inhabited counties of southern Jiangxi. The county lies on the western side of the central-southern segment of the Wuyi Mountain metallogenic belt, with favorable ore-forming conditions; the Shicheng inkstone stone hidden in deep ravines is as smooth as jade, and feels like a child's skin to the touch, produces ink quickly without harming the brush tip, and is superior material for inkstone making. The Shicheng inkstone making craft includes ten process flows: cutting the material, reading the stone, designing, edging, carving, opening the well, polishing, waxing, inscribing, and fitting the case. Its making characteristics are reflected in design and carving. In design, one must carefully examine the stone's texture, color, and pattern, determine the position of the inkstone well, emphasize the refinement and use of natural grain and stone color, and strive to use as little labor as possible, seeking its natural interest to form of itself. The key point of carving is to shape according to the stone, making clever use of color and clever use of pattern, adopting shallow carving, relief, and openwork to fully express the creative idea. Shicheng inkstones divide into two types: one is the free-form inkstone, whose characteristic is shaping according to the stone, ornamenting according to the pattern, and inscribing according to the inkstone, striving for natural completion; the other is the carved inkstone, whose characteristic is ingenious conception, fine and meticulous carving, and abundant elegance. Shicheng inkstones present 'three great beauties.' First is the beauty of the stone product: the stone is as smooth as jade, rings with a wooden and metallic sound when struck, is of riotous color and diverse texture. Second is the beauty of craft: the design and knife work are both exceedingly ingenious, achieving clever use of color and clever use of pattern, presenting various landscapes, flowers, birds, fish and insects, birds and beasts, and figures and deities. Last is the beauty of mood: integrating calligraphy, painting, and inkstone into one, rich in natural elegance. Representative repertoire, works and technical entries recorded for the project include: "Cutting the block and reading the stone": The first two of ten stages: cutting the block and reading its grain, colour and figure; stone from the west flank of the Wuyi metallogenic belt rings woodily and metallically when struck. "Designing and fixing the ink hall": The pivot of design is where the ink hall will sit: read the grain and colour first, leave the best-fitting area to receive ink, and use as little working as possible. "Carving to the stone, using its colour and grain": The craft lies in following the stone's shape and exploiting its colours and veins in shallow, relief and openwork carving to express landscape, birds, beasts and figures. "Free-form versus composed carving": Free-form stones follow the block and take their ornament from its grain, while composed stones are designed and finished to a preconceived idea; the block decides which is possible.
Cutting the block and reading the stone
The first two of ten stages: cutting the block and reading its grain, colour and figure; stone from the west flank of the Wuyi metallogenic belt rings woodily and metallically when struck.
Designing and fixing the ink hall
The pivot of design is where the ink hall will sit: read the grain and colour first, leave the best-fitting area to receive ink, and use as little working as possible.
Carving to the stone, using its colour and grain
The craft lies in following the stone's shape and exploiting its colours and veins in shallow, relief and openwork carving to express landscape, birds, beasts and figures.
Free-form versus composed carving
Free-form stones follow the block and take their ornament from its grain, while composed stones are designed and finished to a preconceived idea; the block decides which is possible.
03 · Transmission & Safeguarding Status
In 2025, Lai Jianhua was announced in the sixth batch of national representative bearers for Inkstone Making Craftsmanship, with Ganzhoushishicheng, Jiangxi as the declared area. Within the documented safeguarding record of Inkstone Making Craftsmanship in Ganzhoushishicheng, Jiangxi: The project was inscribed in the national inventory in 2021 (batch 5), with Ganzhoushishicheng, Jiangxi as its declared area, and Jiangxi Shicheng County Cultural 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
Shicheng inkstones began in the Northern Song dynasty and are renowned for their rich natural colors and unique patterned designs; they were once an inkstone presented as tribute.
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 |
|---|---|---|---|
| Zou Hongli | Yi, Hebei | 03-1394 | Other regional school |
| Lin Yongmao | Xinjiang, Shanxi | 03-1395 | Other regional school |
| Li Maodi | Min, Gansu | 03-1396 | Other regional school |
| Yan Senlin | Yinchuan, Ningxia | 04-1895 | Other regional school |
| Lusuozhong | Zhuoni, Gansu | 05-2828 | Other regional school |
| Lin Tao | Xinjiang, Shanxi | — | Other regional school |
| Lai Jianhua | Ganzhoushishicheng, Jiangxi | — | 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。