Baisha Naxi Embroidery Institute
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The Introduction of ZhangChunhe













Born in Lijiang of the Naxi tribe, Yunnan province,in 1958 and graduated from the Fine Art Department of Beijing’s Central Academy of National Minorities in 1987.He always has been devoted to the study of modern Dongba-style painting and is one of the most representative pioneers in the modern Dongba style of painting. Currently working as a production designer at the August 1st Film Studio in Beijing,while serving as a member of China Artists Association, Director of China Murals Association,Vice-Chairman of the Association for the Promotion of Dongba Art&Culture in Beijing,Vice-Chairman of the lnternational Society of Naxi Studies.Zhang is also a member of the Murals Committee of the Architectural Society of China.


1987: solo exhibition in Beijing.1990: organisedan art exhibition inJapan.1992: The 1st Contemporary Art Exhibition,lsrael and s soloexhibition in Beijing.1993: took part in exhibition at the Embassy of Mexico, Beijingand inGermany.1994: joined exhibition at the Embassy of Romania,Beijingand inGermany.1998: exhibited in Beijing and won the Best Workaward for The Temple of Dongba at the National Mural Grand Exhibition.1999:twomurals selected for the National Mural Grand Exhibition.2000:entered Shangri-Lafor The 9th National Art Exhibition and a solo exhibition inSingapore.2004:Soldiers Marching across Yunnan:Celebrationchosen to entet the 10th National Art Exhibition.


Had published a series of personalcatalogues such as Contemporary Dongba Paintings of Zhang Chun He and A Collectionof Zhang Chun He’s Works etc.


Around 100 works acquired by China NationalMuseum of Fine Art,the Beijing lnternational Yiyuan Art Museum,the Museum ofEthnology at the University of Zurich in Switzerland,and the Art Gallery at theUniversity of Alabama in America,Chinese as well as overseas commercial organisationsand private art collectors.

“The works of translation carried out bythe Dongba Culture Research lnstitute,in a state of urgency, are not justattempts at“literaryrescue”,but also “pictographyrescue”,since the use of pictographs is fast disappearing.

Dongba pictography is reborn in the worksof a few modem Naxi painters who are incorporating them in the composition oftheir paintings.These painters,who are mostly scholars as well,have a deep knowledge of Dongbapictography. Their artistic styles are quite different but they all take Dongbapictographs as a source of inspiration. Modern Dongba painting is interestingfor its artistic value, and more importantly for its cultural transmission role.It is almost the last lively form of Dongba pictography, and represents theassimilation of religious principles into the area of art. And this is howthese Naxi artists are reacting to the rapid disappearance of their culture.”

—Ms Juliette Debon,

                  French Scholar  

Master works