Li Haihua, from Nanjing, capital of east China's Jiangsu Province, established Plum Blossom Intangible Cultural Heritage Studio, in Budapest, capital of Hungary, about five years ago. Her studio has collaborated with the Chinese Embassy in Hungary, the China Cultural Center in Budapest, and other institutions and organizations, to organize and conduct various activities to promote China's intangible cultural heritage. Li has been dedicated to helping people in Hungary, and other European countries, gain a better understanding of China's rich, and diverse, intangible cultural heritage.
Great Passion
Li has harbored a "cultural dream" since childhood. "When I was little, I could see the beauty in a tree or a flower. It felt like I was resonating with the world's beauty," she recalls.
Li's childhood dream was to become a painter, and the comic strips of Tsai Chih-chung were her artistic inspiration. The humorous, minimalist strokes, and the accessible philosophical stories, in the comics captivated her so much that she spent entire days immersed in Tsai's works. Even now, Li's hand-drawn business cards feature Tsai-style scenes.
"I used to run an automation-control company in my hometown, Nanjing. Although I majored in science in university, I always had a great passion for arts and crafts. I especially liked painting Peking Opera face masks, during my spare time, and I sent many of them to my clients and friends. Peking Opera face makeup painting was included on the list of Beijing's intangible cultural heritage in 2009," Li says.
Eight years ago, Li moved to Hungary, and she soon had a lot of free time to pursue her "arts and culture" dream.
To improve her face-mask painting skills, she practiced painting on stone surfaces. Drawing on paper was entirely different from painting on stones. The stone surface was smooth and hard, which required precise brushwork and meticulous attention to the thickness of each line. Even the slightest deviation could ruin a stone.
"At that time, I practiced painting for at least two hours every day. I believe in the '10,000-hour rule.' With persistent effort, over time, one can truly master a skill," Li says.
As she delved deeper into her drawings of Peking Opera face-makeup paintings, and also the making of silk fans, she became more fascinated with the charm of China's intangible cultural heritage. "Intangible cultural heritage is a carrier of national spirit, and a source of cultural confidence," Li says.
Given her love for both China and China's intangible cultural heritage, Li decided to devote herself to studying and promoting China's intangible cultural heritage.
Initially, Li took online courses to study tie-dyeing. As she gained a deeper understanding of tie-dyeing, she realized she should not take a superficial approach to studying China's intangible cultural heritage. So, she ordered boxes of tie-dyeing materials from China, and through continuous, and extensive, practice she improved her tie-dyeing skills.
To date, Li has mastered the information and skills related to 13 types of China's intangible cultural heritage, including tie-dyeing, paper-cutting, batik, and lacquerware. When asked about her original aspiration to establish Plum Blossom Intangible Cultural Heritage Studio, Li says, "It's better to share joy with others than to enjoy it alone. I hope to help more people experience the charm and beauty of China's intangible cultural heritage."
Li has organized many activities related to China's intangible cultural heritage. In the early days of her studio, Li received a lot of support from the Hungarian-Chinese Cultural Association, whose members helped her promote activities. With the association's assistance, Li has introduced — and kept front and center — China's intangible cultural heritage to the Hungarian public.
Dedicated Promoter
Li, a member of the Hungary Overseas Women's Association, is proud to do her part to promote China's intangible cultural heritage in Hungary. People from various countries often participate in the classes and/or activities organized by Li's studio. "I am grateful I have a friend who has stayed in Hungary for several decades, and who has served as a simultaneous interpreter for me when necessary. He gives me great support," Li says.
A German couple once impressed Li during a tie-dyeing activity. The couple wanted to tie-dye a dress and a scarf. Tie-dyeing can be quite challenging for beginners. However, the couple declined assistance and insisted on doing the tie-dyeing themselves. It took them a long time to finish, but they were satisfied with the final results.
"They not only enjoyed the process of making tie-dyed items, but they were also interested in knowing more about the culture of tie-dyeing," Li says.
Li explained to the couple that Chinese tie-dyeing is a form of low-temperature dyeing. "The tie-dye materials don't hurt the skin, and the blue and white colors are like the scenes of Cangshan Mountain and Erhai Lake, both in southwest China's Yunnan Province. Yunnan is known for its tie-dyeing art," Li explained.
Li organizes lectures and experience-related activities, involving intangible cultural heritage, to promote the culture of intangible cultural heritage. "I don't sell finished intangible cultural heritage items at my studio. I give them away, as gifts. Experiencing the process of making intangible cultural heritage items, and learning about the culture behind them, is more meaningful and interesting. I hope people understand the culture behind the items rather than just owning the items," Li says.
The Peking Opera face mask is Li's first cultural calling card. "Many foreigners often become fascinated when they see the face masks in my studio," Li says. When she introduces the face masks, Li usually starts by telling the tale of the King of Lanling, the ancient warrior who was so handsome he had to wear a "fierce mask" to intimidate his enemies.
Li also mentions the ancient Chinese proverb, "One plays the red face, the other plays the white face." She uses this proverb to explain to international visitors how the different colors of the masks represent different character traits. For example, the mask with the water-white base and silver-lined patterns represents Cao Cao (155-220), a Chinese statesman, warlord and poet who rose to power at the end of the Eastern Han Dynasty (25-220). Cao's complex and cunning persona is vividly portrayed through a single face mask.
During the Night of Museums event, in 2024, many visitors were interested in making lacquer fans at the booth of Li's studio. They waited in a long queue. "We worked nonstop that day. International friends were all very enthusiastic," Li recalls. With a gentle float of lacquer in water, everyone could create their own unique lacquer fan, by slowly putting the blank fan into the water and then pulling it out.
Although Li was busy preparing the lacquer in the water to meet the different requirements for colors by each visitor, her face was always beaming with a smile. Similar smiles were on the faces of the Hungarian children, who were experiencing Chinese lacquer art for the first time.
At the end of the event, only one fan remained, but there were two children. Li gave her own lacquer fan to them. "I don't want anyone to feel disappointed," Li says.
In addition to helping the visitors make their unique lacquer fans, Li shared the cultural stories behind the fans. "I told them the Chinese character shan (fan) is a homophone for kindness, which essentially represents great love. When we make a fan, it also represents passing on love," Li says. Thanks to Li's explanations, the people who made the lacquer fans felt their fans were precious, and meaningful.
Recently, some students of a traditional Chinese medicine (TCM) school in Budapest experienced movable-type printing at Li's studio. Li demonstrated the printing of the Chinese character fu (blessing).
"The Chinese character, fu, represents having many children, many talents, abundant fields, good fortune and longevity. These five blessings are combined into one," Li told the students. This cultural interpretation sparked the students' interest in both Chinese characters and culture.
As Li's studio has gained popularity in Hungary, she has begun working with other institutions and organizations. "The president of Óbuda University, in Budapest, has visited my studio. We are considering working together to roll out intangible cultural heritage courses and relevant activities," Li says.
She plans to work with a Budapest-based TCM school, and a Nanjing-based intangible cultural heritage institution, to establish an intangible cultural heritage school in Budapest. "I hope people will not only see and experience intangible cultural heritage, but also pass it on," she says.
Photos from Interviewee
(Women of China English Monthly August 2025)
Editor: Wang Shasha
