Quyang Clay Sculpture

Quyang Clay Sculpture

Quyang clay sculpture is an intangible cultural heritage of Hebei Province.

　　The art of clay sculpture in China can be traced back to the Neolithic Age, between 4,000 and 10,000 years ago. Since then, this art form has continued without interruption and developed into an important artistic genre during the Han Dynasty. After the Han, with the rise of Taoism and the introduction of Buddhism, the proliferation of Taoist temples, Buddhist monasteries, and shrines further stimulated the demand for and development of clay sculpture. By the Tang Dynasty, clay sculpture had reached its peak. After the Yuan Dynasty, through the Ming, Qing, and Republican periods, clay sculptures remained popular in society, especially small-scale pieces that served both as decorative displays and toys for children.

　　Quyang County is a world-renowned “Hometown of Sculpture” and the birthplace of northern Chinese sculpture art, with a history of over two thousand years. During the development of Quyang stone carving, some clients seeking the best artistic effect would ask Quyang carvers to first model the intended figures or animals in yellow clay. Once satisfied with the model, they would proceed to have the piece carved in stone. This practice gave rise to Quyang clay sculpture. As stone carving techniques became increasingly refined, so too did Quyang clay sculpture.

　　In the mid-1990s, Ma Ruote, a clay sculptor from Quyang County, began creating works that reflect local customs and folk life. Building on traditional techniques, he made bold reforms and innovations. Drawing on the bold and vigorous style of Quyang clay sculpture, he focused on portraying mountain folk as his main subjects, creating a series of uniquely shaped “Mountain People” clay sculptures. These greatly enhanced the aesthetic and artistic value of Quyang clay sculpture. Experts have described his works as leaving behind a “special living archive” of mountain villagers.

　　After years of dedicated research, Ma Ruote developed a mature craft and unique style in his clay sculptures. The materials used are pure, unadulterated clay, which is ground, pulped, filtered, dehydrated, and then repeatedly kneaded with cotton fibers to create a malleable medium. The sculptures are hand-molded into shape. To make them easier to preserve, the figures are hollow inside but solid outside. After air-drying, they undergo high-temperature firing in a hollow state, resulting in pieces that are unglazed and retain a rough, simple texture. The artworks primarily depict the original ecology of rural society, centering on the emotional lives of farmers, set against the rhythm of social progress. The focal conflict lies in the pursuit of rural cultural advancement and the longing for a tranquil, pastoral life. Through the medium of clay pottery art, these works portray the originally simple yet vast community of mountain dwellers. The sculptures are rugged and unembellished, rich in meaning, finely detailed, and closely tied to everyday life. In today’s era of rapid technological advancement, they not only represent a yearning for simplicity and authenticity, but also reflect contemporary people’s pursuit of individuality and style. This distinctive, primal artistic subject matter, sculptural language, and style deliver profound artistic impact and emotional resonance.

　　Today, Quyang clay sculpture has gained a certain level of influence and acclaim both domestically and internationally. Quyang clay sculptures are not only collected by institutions such as the Hebei Folk Museum, Dalian Five Rings Museum, and the Shanghai World Expo, but are also popular across many regions of China. Some pieces have even found their way into the collections of collectors in countries such as South Korea, Germany, Japan, and Singapore.