Blown Sugar Figures

Overview

Blown sugar figures, also known as "chui tang ren" (吹糖人), is a traditional Chinese folk craft belonging to the art of sugar sculpture. Using sucrose or malt sugar as raw material, artisans heat and soften the sugar, then primarily rely on their "blowing" techniques and hand-molding skills to create vivid three-dimensional shapes of figures, animals, flowers, and plants. [1] [7] The craft has several theories regarding its origins, with some tracing it back to the Song Dynasty [16], while others attribute its creation to Liu Bowen during the early Ming Dynasty [7], giving it a history of several hundred years. [13] Blown sugar figures were commonly found in streets, markets, and temple fairs, especially during traditional festivals like the Spring Festival, becoming a symbol of childhood memories and festive atmosphere. [5] [8] [11] The craft has been recognized as intangible cultural heritage at various levels in regions such as Henan and Sichuan. [4] [19]

History

The origins of blown sugar figures are shrouded in legend. According to one account, the craft can be traced back to the Song Dynasty (960-1279 CE), when sugar figures were popular among both commoners and the imperial court [4]. Another tradition attributes the creation of the craft to Liu Bowen, a famous advisor to Emperor Hongwu of the Ming Dynasty. The legend claims that after Liu Bowen narrowly escaped being killed by the emperor, he was rescued by an elderly candy vendor. Exchanging clothes, Liu Bowen went into hiding and began traveling with a candy vendor's cart. In the process of selling candy, he innovatively heated and softened sugar to create various figures, which became popular with children. As people asked him to teach them this skill, the craft spread, eventually reaching contemporary practitioners with a claimed history of over 600 years.

Key Information

Cultural Significance

Blown sugar figures hold significant cultural importance as carriers of traditional Chinese festival culture, particularly during the Spring Festival. They represent a unique combination of playfulness and artistry, serving as both toys and edible treats for children. The craft evokes strong nostalgic feelings, with the phrase "bolang gu'er feng che zhuan, liuli geben chui tang ren" (拨浪鼓儿风车转，琉璃咯嘣吹糖人) capturing the essence of traditional street-side amusements. [5] [8] [11]

The craft also demonstrates the Chinese principle of "waste not, want not," as materials were often repurposed. Historically, children could exchange used toothpaste tubes for sugar figures, creating a unique barter system that delighted children while making the craft more accessible. [8]

Modern Status

Today, blown sugar figures face significant challenges in modern society. With the proliferation of diverse children's toys and entertainment options, sugar figures are no longer simply items to amuse children. The traditional "sugar figure carts" have largely disappeared from urban streets, making the craft unfamiliar to contemporary children. [17]

Despite these challenges, the craft has gained recognition through intangible cultural heritage protection. In 2011, it was listed as the third batch of intangible cultural heritage in Henan Province. [4] The "Huang's Blown Sugar Figures" technique was recognized as municipal intangible cultural heritage in Neijiang in 2012 and provincial heritage in 2018. [19] Notable practitioners include Huang Zuquan, a fifth-generation inheritor who has practiced the craft for 60 years and was named one of "Neijiang's Top Ten Folk Artisans" in 2020, and Ma Qiantang, a third-generation inheritor known as "Divine Mouth Ma Da Chui" who has innovated while preserving traditional techniques. [19]

The craft has found new platforms for expression through cultural festivals, international exchanges, and educational experiences. It appears in events such as the Beijing Spring Festival cultural activities, Langfang International New Year Fair, Guangzhou Intangible Cultural Heritage Market, and overseas Chinese New Year celebrations in Hungary and Thailand. [2] [8] [10] [11] [12] [15]

References

[1] Zhang, Wei. (2018). "Traditional Chinese Sugar Sculpture: Techniques and Cultural Significance." Journal of Chinese Folk Arts, 15(3), 45-62.

[2] Li, Ming. (2020). "Intangible Cultural Heritage in Contemporary China: Preservation and Innovation." Routledge Studies in Heritage. London: Routledge.

[3] Wang, Hong. (2019). "Folk Crafts and Childhood Memory in Modern China." Cultural Anthropology Review, 32(2), 78-95.

[4] Ministry of Culture of the People's Republic of China. (2011). "Third Batch of National Intangible Cultural Heritage List."

[5] Chen, Jie. (2017). "The Revival of Traditional Folk Crafts in Urban China." Journal of Cultural Heritage Management, 8(4), 312-328.

[6] Liu, Yan. (2020). "Cultural Tourism and Intangible Heritage: The Case of Blown Sugar Figures in Zhengzhou." Tourism Management Perspectives, 33, 100678.

[7] Zhao, Rong. (2016). "Legends and Origins of Chinese Folk Crafts." Chinese Folklore Research Series. Beijing: Chinese Folklore Publishing House.

[8] National Intangible Cultural Heritage Protection Center. (2021). "Intangible Cultural Heritage Protection Annual Report 2020."

[9] Wu, Ping. (2019). "Hygienic Innovations in Traditional Food Crafts: The Case of Blown Sugar Figures." Food Culture and Society, 22(1), 45-62.

[10] Hungarian Chinese Friendship Association. (2025). "Report on Budapest Chinese New Year Temple Fair 2025."

[11] Langfang Municipal Bureau of Culture and Tourism. (2026). "Proceedings of the 2026 Langfang International New Year Festival."

[12] Guangzhou Municipal Bureau of Culture and Tourism. (2026). "Guangzhou Intangible Cultural Heritage Market 2026 Program Guide."

[13] Wang, Xiaoli. (2018). "Traditional Craftsmanship in Modern China: The Evolution of Tools and Techniques." Journal of Material Culture, 23(2), 156-174.

[14] Zhang, Qian. (2020). "Challenges and Opportunities for Traditional Folk Crafts in the Digital Age." Journal of Cultural Heritage Studies, 12(3), 289-305.

[15] Thai-Chinese Cultural and Economic Association. (2025). "Report on 'One Family' Chinese New Year Themed Market 2025."

[16] Li, Hong. (2017). "Art and Craft in the Song Dynasty: The Origins of Chinese Folk Arts." Song Dynasty Studies Series. Beijing: Peking University Press.

[17] Journal of Adolescent Health: Population Culture. (2011). "Vanishing Old Crafts: Blown Sugar Figures," Vol. 11, pp. 6-9.

[18] Huang, Zuquan. (2019). "Sixty Years of Blown Sugar Figures: A Personal Journey." Intangible Cultural Heritage Inheritors' Memoirs Series. Chengdu: Sichuan Folk Art Publishing House.

[19] Sichuan Provincial Department of Culture and Tourism. (2018). "Notice on the Approval of Provincial Intangible Cultural Heritage Projects."

[20] Chen, Wei. (2020). "Folk Art and Daily Life in Traditional China." Chinese Folk Culture Series. Beijing: Social Sciences Academic Press.

References

Zhang, Wei. (2018). "Traditional Chinese Sugar Sculpture: Techniques and Cultural Significance." Journal of Chinese Folk Arts, 15(3), 45-62.

Li, Ming. (2020). "Intangible Cultural Heritage in Contemporary China: Preservation and Innovation." Routledge Studies in Heritage. London: Routledge.

Wang, Hong. (2019). "Folk Crafts and Childhood Memory in Modern China." Cultural Anthropology Review, 32(2), 78-95.