Wang Hongyu (second from right) shows a guest how to manipulate a shadow puppet. [Photo/Nantong Daily]

Wang Hongyu, a graduate of Nantong Vocational University in Jiangsu province, has been a passionate advocate for promoting Nantong's cultural heritage.

Born in Ba'erhu town, Nanbu county, Sichuan province — the birthplace of Nanbu shadow puppetry — Wang's childhood was unlike that of most children.

"While other kids played with Ultraman toys, my 'toys' were cowhide, carving knives, and bamboo sticks," he said. Captivated by the "soul within the shadows" after watching a shadow puppet performance at a young age, he began apprenticing at eight under He Tiankui, the eighth-generation inheritor of Nanbu shadow puppetry.

In 2021, Wang was admitted to the School of Art and Design at NTVU. Driven by the desire to promote his hometown's shadow puppetry in Nantong, he and his classmates organized outreach programs in communities and schools. However, at nearly every event, he was met with the same question: "Doesn't Nantong have its own shadow puppetry?"

Eventually, he discovered that Nantong's shadow puppetry dates back to the Qing Dynasty (1644-1911), originally introduced by trade caravans. It later absorbed elements from Nantong and Sichuan operas, developing a unique style and, more importantly, sharing roots with the Nanbu shadow puppetry of his childhood.

This cultural connection inspired Wang to chart a new course. He founded the "Yingcai Shijiao" club, merging the techniques of Sichuan shadow puppetry with the cultural essence of Nantong's local puppetry. Collaborating with various organizations, he created the shadow puppet play Huazi Street, reviving the lyrics with Nantong characteristics on stage.

In Wang's view, while the older generation of inheritors focused on refining craftsmanship and artistic techniques, today's approach must go beyond mere skills. It should blend traditional cultural elements with new ideas, technologies, and business models.

To achieve this vision, he launched three initiatives: first, transforming shadow puppet patterns into earrings, brooches, bookmarks, and fans, incorporating Nantong's blue calico and local fabric elements to create culturally rich products, with annual sales exceeding 5,000 pieces; second, developing educational handicraft kits; and third, creating a "virtual shadow puppetry" platform using computer vision technology.

Wang's proudest achievement is promoting the inclusion of Nantong-style shadow puppetry in Nantong's excellent tourism, cultural, and creative products, thereby establishing it as a new cultural intellectual property for the city.