Weifang Kites

Weifang Kites

Weifang kites are a national intangible cultural heritage.

　　Kites, anciently known as "paper kites" or also called "sparrowhawks," are a toy popular throughout Shandong, especially in Weifang,

　　The origins of Weifang kites can be traced back to Mo Di, a great philosopher of the State of Lu, who made the first "wooden kite," which has a history of over two thousand years. However, they truly began to flourish and reach the general public during the Ming Dynasty. By the mid-Qing Dynasty, Weifang began to see folk artisans specializing in kite-making. Legend has it that a mute artisan surnamed Chen crafted kites that were novel and beautiful, flying high and steady, and became widely renowned. Around this time, flying kites around the Qingming Festival also became a local custom of enjoying the spring breeze. According to the *Draft Chronicles of Weixian County*: “Every year during the Cold Food Festival, outside the east gate on the sandy riverbank… a plank bridge stretches across, the river water begins to thaw, peach and plum blossoms emerge, willows veil the air in mist, and paper kites soar high into the clouds.” “On Qingming, children play with paper kites and swings. The designs of the kites vary, including cranes, swallows, butterflies, cicadas, and various figures—all exquisitely crafted, ingeniously diverse.” Zheng Banqiao, a renowned poet, painter, and calligrapher who served as magistrate of Weixian County for seven years, wrote poems reminiscing about Weixian: “Paper flowers fly like snow across the sky, graceful girls swing in circles, their colorful skirts fluttering in the wind, competing with butterflies returning to spring,” vividly depicting the characteristics of Weixian’s kites and the customs of flying them. “On the 104th day after winter solstice, during a minor Cold Food Festival, strolling up to Bailang River, paper kites and swinging girls, amidst fresh spring grass, bring many spring swallows,” is a true depiction by Guo Lin, a poet from Weixian, of his hometown's kite-flying during Qingming and the Cold Food Festival. In modern times, Weixian became a nationally and internationally renowned hub for kite production and trade. A *Bamboo Branch Song* describes the bustling kite market at the time: “The kite market lies on the eastern city wall, shoppers come and go in busy throngs, with ever-new designs to entice buyers, rows of double-butterfly kites in sight.” Kites crossed oceans and were taken to the United States and Japan, where they were collected as artistic treasures. After the founding of New China, Weifang kites, as a symbol of the city, became even more cherished and valued by locals. Starting in 1984, Weifang successfully hosted international kite festivals year after year; in 1988, it was recognized by the global kite community as the “Kite Capital of the World.” Weifang kites reached the world stage and truly entered their golden age.

　　Individuality is the hallmark of artistic success. The unique character of Weifang kites is embodied through the “four arts” of frame-making, painting, pasting, and flying.

　　Frame-Making: The frames of Weifang kites are typically constructed from bamboo. The process includes: selecting bamboo, splitting it, shaving bamboo strips (using methods such as “pull-shaving” and “push-shaving”), trimming the strips, bending them, and tying the joints. There are many types of kite frames, each with its own assembly method. Generally, once one masters the basic construction of hard-wing, soft-wing, and flat kites, they can freely vary and create all kinds of kites. Master kite makers have summed up rich experience in the process, some even compiling it into rhymes. For example, the rhyme for making a hard-wing chubby sand martin kite goes: “For the chubby martins, the four-four method is best: one head, one belly, one tail root. Upper strips must be straight and stiff, lower strips flat and soft, conforming to the shape. Seven segments divided equally for the frame, both wings tied in semi-circles. The middle belly should follow the dual-part rule, the upper end of the tail bamboo aligned with the centerline. Determine the lower end length accordingly, with the cross-frame connecting head to tail. Place four square paper patches in the middle, each wing gets four matching pieces. The head faces the wind, the belly is the main support; the rim bamboo should be soft to let wind pass through. A wide crotch and broad paper make the single side soft, ensuring it won’t tilt in the wind.”

　　Pasting: Kites are pasted using paper, treated silk, or thin satin, depending on the kite design. For example, dragonfly kites use silk because it is more transparent than paper and resembles the wings of a live dragonfly. The tails of dragon kites or carp kites use satin, which flutters in the wind just like a real fish tail. Eagle kites should not use silk, as the fluttering would not resemble an eagle soaring—it must be made of kraft paper or windproof backing paper. When pasting, cut the paper slightly larger than the frame, make slits along the edges, apply glue, and then fold and paste the cut edges onto the bamboo strips. There are two methods: one is wrapping the paper around all four sides of the bamboo, called “edge-wrapping”; the other is covering only two sides, then trimming off the excess paper after the glue dries—this method, called “edge-trimming,” reveals parts of the shaped bamboo to showcase the craftsman’s skill. Kites can be pasted before or after painting. Since most kite designs are symmetrical, artisans usually paint first, then paste. They cut the paper sections, paint and let dry, iron smooth, and then paste them onto the frame. During painting, blank spaces are left at the joints to ensure symmetry, which are later filled in after pasting. Each type of kite also has its own specific pasting method. For instance, sand martin kites are pasted on the wings first, then legs, and finally the head and belly. The “character ‘mi’ kite” is also pasted on the wings first, while flat kites use a direct pasting method.

　　Painting: The composition and color scheme of kite paintings best reflect local characteristics. Weifang kites incorporate techniques from Weixian woodblock New Year paintings and draw inspiration from Beijing and Tianjin kite art styles, featuring bold lines and colors based primarily on red, yellow, and blue. Bold brushwork creates bright, simple, and unadorned tones, achieving a strong visual aesthetic through symmetry. For example, the Weifang dragon-headed centipede kite: the Hu Jingzhu school favors a dark blue base, applying rich, vibrant colors for a striking contrast; the Kang Wanxiang school uses navy blue as the main hue, representing seawater, accented with warm reds or oranges to make the imagery vivid. When flown, the kite harmonizes beautifully with the blue sky. A Western art master once said, “Know how to use the fewest colors. If you can convey what others do with seven colors using just two, your skill is greater.” Weifang kite artists do just that. They use minimal colors, mostly solid blocks, distinctly highlighting the simple yet intense nature of folk art colors.

　　Flying: Tools for flying kites include the string, winding tools, and various accessories for play. Kite strings include “sewing thread” (for small kites), “small line” (three-strand cotton thread, the most common among folk users), “clothing thread” (silk thread—fine called “silk line,” thick called “silk rope”), “hemp line” (used in the past for large kites), etc. The most common winding tool is the “line reel,” a hexagonal spool mounted on a handle that rotates freely to let out string. Winding back is convenient with one hand pulling the string and the other turning the reel. It is also a charming toy in itself. There is also a “simple reel,” with a flat frame on the handle, equally handy. For larger kites, a “line crank” is used; even larger ones require a “winch.” Kite accessories serve as play items during flying and come in many types, mainly including: “wind organs,” “gongs and drums,” and “food-delivering kites.”

　　There are many types of kites, categorized by image into bird-shaped (like eagles, swallows, cranes), insect-shaped (like dragonflies, cicadas, butterflies), aquatic animal-shaped (like goldfish, frogs, crabs), human-shaped (like Sun Wukong, chubby babies, the Old God of Longevity), character-shaped (like “double happiness,” “fortune,” “longevity”), object-shaped (like fans, clocks, lanterns), and abstract/geometric-shaped (like roof tiles, bagua, stars). By structure, they include hard-wing, soft-wing, flat, flat-peach, soft, and barrel kites. By function, they are toy kites, display kites, and stunt kites. They can also be classified by size into giant and miniature kites. For instance, the “carp leaping over the dragon gate” kite made by Weifang artisans is two stories high, spanning 174 square meters—the kite maker assembled it from a rooftop. Giant three-dimensional centipede kites feature a dragon-headed front and dozens of body segments totaling over 100 meters in length. To fly them, the tail and body segments are gradually lifted, and then the dozens of round, boxy segments lift the heavy dragon head into the sky. Smaller centipede kites are fully proportioned but tiny enough to fit inside a matchbox.

　　Like many forms of Chinese folk art, Weifang kites originated from recreational activities, embodying people’s ideals and wishes, and are closely tied to daily life. The shapes of kites mimic natural elements, social life, and mythological figures, all symbolizing “good fortune,” “celebration,” joy, and aspirations. Their vibrant colors represent not merely the objects they imitate, but people’s longing for a better life. Flying kites is an easy, economical, and suitable activity for all ages, offering both entertainment and exercise. On sunny spring days, people run across spring hills, plains, or endless white-sand beaches, holding the string—exercising their arms and legs, resting their eyes, and improving circulation, all highly beneficial to health. With the rise of kites, Weifang kites also became part of people’s economic lives, entering the market as commodities. Kite-making became a profession and an important livelihood. Historical records show that as early as the Qing Dynasty, Weixian had over 30 kite workshops and shops in the city, with dozens more setting up stalls during the Qingming Festival. Merchants flocked here, and business flourished. Today, thanks to local government support and public affection, along with the continuous hosting of the International Weifang Kite Festival, Weifang kites have become a cultural symbol of the city. They traverse oceans, building friendships with people worldwide, and have become a powerful lever for Weifang’s economic growth. The craftsmanship of Weifang kites has also embraced a path combining traditional techniques with modern technology, ushering in a new era of development.

　　Source: Shandong Provincial Information Network

　　Source: Shandong Provincial Information Network