Dafang Walnut Crafts

Dafang Walnut Crafts

　　Walnuts, originally known as "hutao" or "qiangtao," are also called the "longevity fruit" or "thousand-year seed." According to the *Mingyi Bielu* (Supplement to the Materia Medica), “This fruit comes from the Qiang and Hu regions. During the Han Dynasty, when Zhang Qian was sent as an envoy to the Western Regions, he brought back walnut seeds, which were first planted in central Shaanxi and gradually spread eastward.” When Zhang Qian introduced them to the Central Plains, they were called “hutao” (foreign walnuts). Historical records state that in 319 AD, Shi Le, a general of the Jin Dynasty who occupied the Central Plains and established the Later Zhao, changed the name from “hutao” to “walnut” because he disliked the character “Hu” (foreign). This name has been used ever since. Walnuts are divided into edible soft-shelled walnuts and inedible iron walnuts (commonly known as “clamshell walnuts”), as well as a wild variety called mountain walnuts. The Chinese turn everything into culture, and play is no exception — walnuts even have their own culture. In ancient times, people referred to playing with mountain walnuts as “rubbing hand walnuts” or “palm pearls.” The tradition of playing with mountain walnuts in China dates back to the Han and Sui dynasties, flourished in the Tang and Song dynasties, and reached its peak during the Ming and Qing dynasties. Over more than two thousand years, this practice has evolved into a unique Chinese walnut culture. Throughout history, everyone from emperors and generals to scholars and beauties, as well as officials and commoners, took pride in owning a pair of exquisitely polished, mirror-like gaming walnuts. Particularly during the Ming and Qing dynasties, the pastime reached its zenith. Emperor Tianqi of the Ming Dynasty, Zhu Youjiao, not only played with walnuts constantly but even carved them himself, leading to the apocryphal tale of “Tianqi forgetting state affairs while carving walnuts at his imperial desk.”　　

　　Emperor Qianlong of the Qing Dynasty was not only an expert in appraising walnuts but also displayed walnut crafts on the imperial altar. Since walnuts were regarded by the public as symbols of good fortune, the character “he” (core) sounds like “he” (harmony), implying family joy, harmony, peace, and prosperity — as well as the ability to turn misfortune into blessing. Thus, emperors placed them in ancestral temples as protective talismans. Walnut crafts flourished during the Qing Dynasty, and their production techniques advanced significantly. In 1997, during the celebration of Hong Kong’s return to China, walnut crafts were among the gifts presented by the central government to the SAR government.　　

　　In central Guizhou, walnuts are found everywhere. In the old society, when poor people could not afford luxury ornaments, they made various decorations from walnuts, such as bracelets, pendants, necklaces, and gourds. Some even crafted walnut spinning tops as toys. Walnut wood has long been considered auspicious and was used to make bridal beds, symbolizing harmony, fertility, and the wish for many children. These positive meanings continue to be valued today.　　

　　With advancing technology, the craftsmanship of walnut products has become increasingly refined, and the variety has expanded. Walnut crafts are made from carefully selected high-quality wild mountain walnuts, taking advantage of their hard, wear-resistant shells and naturally beautiful, rustic inner patterns. The process involves dozens of steps, including slicing, kernel removal, drying, gluing, painting, and polishing. All walnut crafts retain the original shape and grain of the walnut, resulting in elegant, vintage designs with natural beauty and artistic openwork effects. These are high-end ethnic handicrafts that combine artistry, practicality, collectibility, and ornamental value, making them ideal gifts for friends and family, business exchanges, interior decoration, and home displays.　　

　　As people now focus on the economic benefits of walnut cultivation and no longer plant iron walnuts, walnut crafts are expected to hold significant collectible value in the coming years. Their production techniques are simple and suitable for mass production, even for export. With government support, establishing a processing plant could also help address rural unemployment. Given the right conditions, developing walnut crafts into a cultural industry with local Dafang characteristics could further boost the region’s economy and add vibrancy to the homeland of She Xiang and the ancient land of the Yi people.