Clay Figurines by the Zhang Family

Clay Figurines by the Zhang Family

　　Tianjin clay figurines had already enjoyed considerable renown during the Qianlong and Jiaqing reigns of the Qing Dynasty. It was the painted clay sculptures of the “Clay Figurine Zhang” that truly elevated Tianjin’s clay artistry, making it shine brilliantly and become a marvel of national art. The founder of Tianjin’s “Clay Figurine Zhang” art was Zhang Changlin.

　　Zhang Changlin (1826–1906), also known by his courtesy name Mingshan, later went by his courtesy name. From childhood, he apprenticed with his father in clay sculpture, honing extraordinary skills. He could sit face-to-face in conversation with someone, mold clay with his hands without drawing attention, and in a moment create a piece. Though only an inch in size, the figures were not only lifelike in form and spirit, but also appeared vividly animated, with even their facial hair seeming to move. The “Clay Figurine Zhang” sculptures drew on a wide range of themes—some reflected folk customs, others were inspired by folk tales or stage dramas, and some were directly based on classic literary masterpieces such as *Water Margin*, *Dream of the Red Chamber*, and *Romance of the Three Kingdoms*. The works were not only realistic in shape, but also captured the inner spirit through form, achieving a perfect unity of appearance and essence. The colors used in “Clay Figurine Zhang” sculptures were simple, elegant, and bright, with carefully selected materials. The figurines, once molded, would neither dry out nor crack over time, remaining strikingly lifelike, and earning international acclaim. Foreigners were quick to purchase them at high prices, “placing them in museums for public appreciation.” At every exhibition, they were regarded as outstanding masterpieces. A modern art museum in Ashiya, Japan, even established a dedicated exhibition room for “Tianjin Clay Figurines by the Zhang Family,” showcasing 58 clay sculptures. In recent years, “Clay Figurine Zhang” sculptures have actively promoted friendly international cultural and artistic exchanges, serving as a bridge between China and other countries.

　　The art of Tianjin’s “Clay Figurine Zhang” painted sculptures is a renowned genre of folk craft and fine art that developed in modern times. This flower of art, passed down through generations, took root in the traditional soil of ancient clay sculpture and, through bold innovation, has become a unique highlight of Tianjin’s artistic heritage today.

　　During Zhang Mingshan’s era, there were many folk artisans in Tianjin who made clay figurines. But after Zhang Mingshan’s works gained fame, many of these artisans switched professions—the reason being that the works of Clay Figurine Zhang were simply too exquisite. Many people, in awe, became deeply curious about the production methods. Zhang Yu explained that the Zhang family’s crafting secrets were unmatched techniques known only to them. The selection of materials involved three steps: sun-drying, stirring, and filtering.

　　The quality of a “Clay Figurine Zhang” piece first depends on the raw material—the quality of the clay. After repeated comparisons, Zhang Mingshan discovered that about one meter underground in the ancient riverbed of Tianjin’s western suburbs lay a layer of red clay (commonly called sticky clay). This clay had extremely strong viscosity and very low sand content, making it highly suitable for crafting clay figurines. As a result, Zhang Mingshan reached an agreement with local farmers: at regular intervals, the farmers would deliver sun-dried clay to the Weituo Temple Hutong in the northwest corner where Zhang Mingshan lived, and he would then filter the clay.