HOHHOT, Aug. 17 (Xinhua) -- Amid the lingering scent of print oil, 68-year-old Zhaun Namur was meticulously creating a print that captures flocks of sheep grazing across the grasslands of north China's Inner Mongolia Autonomous Region. He often works 12 hours a day.

"My name means 'one hundred autumns' in our native language, and it carries the best wishes of my parents for a long life," Zhaun Namur said. "I want to dedicate the rest of my time to printmaking."

Formerly a herdsman from the northern part of Jarud Banner in Tongliao City, Zhaun Namur spent his prime years working hard to make a living. It was not until 2010 when he rediscovered his passion for Jarud woodblock painting, a traditional Inner Mongolian folk art that originated in the banner in the 1950s.

Characterized by bold negative-space carving and relief techniques, Jarud prints create a striking visual impact. A piece usually goes through more than a dozen steps, finished with engraving knife, woodblock and ink and combining bold lines with vibrant colors. In 2009, this distinctive art form was recognized as an intangible cultural heritage of the autonomous region.

Fueled by passion and supported by cultural preservation efforts, Zhaun Namur's daring yet steadfast journey reached a milestone when one of his prints entered the exhibition hall of the Cultural Palace of Nationalities in Beijing, a testament to his dedication and talent.

Zhaun Namur has been passionate about painting since childhood. In high school, he discovered Jarud printing and was immediately captivated by this folk art. Encouraged by his art teacher, he pursued it independently and eventually mastered the craft.

But the burden of life stood in the way of his artistic pursuit. After graduating from high school, he left his hometown to work as a migrant worker and later did small businesses in southern China.

Zhaun Namur said it is the interest in printmaking that sustained him during the hardest times. After his children graduated from college and the financial pressure eased, Zhaun Namur made up his mind to pursue his dream. "I don't want to make a fortune from painting, just enough to get by is fine," he thought to himself.

Most of his works draw inspiration from his hometown, portraying lush green meadows and arresting mountains or depicting the nomadic life of herders. He is now a regional representative inheritor of the cultural heritage.

In 2017, Zhaun Namur was introduced to work at the Jarud Banner Printmaking Institute, a public-interest organization dedicated to supporting printmaking enthusiasts, both professional and amateur, in creating and commercializing their work.

"I got an office, and I receive government subsidies each year," Zhaun Namur said, adding that he can earn a stable 40,000 yuan (about 5,600 U.S. dollars) to 50,000 yuan a year by selling his prints.

The institute is part of local efforts in preserving and promoting Inner Mongolian culture and fine traditional Chinese culture. Now it offers studios and painting tools for 28 printmakers free of charge. It also organizes training programs to help them improve painting techniques, according to Zhang Lixin, director of the institute.

Last year, artistic works created by these printmakers generated 300,000 yuan through the institute's online store alone, with some even being exported to countries like Germany, New Zealand and Malaysia.

"Jarud print is more than a cherished cultural heritage; it is an artistic language bridging the world," Zhang said.

With his working conditions improving, Zhaun Namur said he would gladly paint around the clock if he could. "I don't feel tired at all when I'm immersed in printmaking. It frees me from the bothersome trivia of life." He has even written a guidebook to help others master the craft.

While Zhaun Namur's works lean toward a realistic style, other artists bring their own unique voices. The institute's exhibition hall displays prints across a wide spectrum of themes and styles, from idyllic pastoral scenes to Picasso-inspired abstractionism.

"Each artist has a distinctive style, and we all need to pave our own roads," Zhaun Namur said.

The craft is also evolving with the times. Liu Tao, a Gen-Z newcomer to the institute, noted that young printmakers now often use PVC blocks. Compared with traditional wood, PVC is softer and makes it especially easier for beginners to carve intricate patterns.

Zhaun Namur is the oldest printmaker at the institute, while the youngest is just 24. The amateurs come from all walks of life, from public servants to migrant workers. This broad range of ages and backgrounds offers a glimpse into the widespread popularity of this art form across the region.

Zhao Zhi, an Inner Mongolian public servant, has spent every weekend crafting prints at the institute since 2019. He also serves as a part-time instructor for local students during the summer vacation.

He said many government departments at Jarud Banner, including where he works, offer funding for volunteer teaching initiatives at schools to help nurture more printmakers from an early age.

In Zhao's office, one print on the wall draws particular attention. It depicts a take-out rider braving heavy snow and wind, pressing onward. The piece was created by one of his students.

"Zhaun Namur is a veteran printmaker, while I'm middle-aged. And we hope to nurture younger generations," Zhao said. ■