Blue Calico Gallery

In 1996, due to lack of funds, the research institute was taken over by a cap factory. Wu was then confronted with two choices: the first to design hats at the factory, which meant abandoning his 20 years of work on researching and producing blue calico; the second to resign and rely on his skills to make a living.

Years before a group of Japanese merchants, understanding the cultural value of folk crafts, had borrowed Wu's collection to set up a blue calico exhibition hall in Shanghai and launch a touring exhibition in Japan. Inspired by this event, Wu decided to put his years of experience and research, as well as his collection of blue calico items and designs, to work by opening a blue calico gallery in China.

This bold decision amounted to a make-or-break venture. Wu used his entire life savings and also borrowed from his mother and various relations to rent and refurbish a small courtyard, property of the Nantong Textile Museum in the recesses of a local park, as premises for his business.

One year later the gallery opened. It acts as a showcase for hundreds of choice items gathered during his 20-year career. Wu later established a dye works. During the day he took guests on tours of the gallery and gave background information on each piece. At night, he retreated to the dye works to work on new designs. To secure an income, he delivered goods to Shanghai twice a week. At that time, it took more than six hours to travel by boat from Nantong to Shanghai. To save on accommodation, Wu traveled on the cheapest berth of a boat leaving at 10 p.m. and slept onboard. After three years of hard work, Wu's gallery became self-sufficient.

In December 1999, Wu Yuanxin launched the Nantong Blue Calico Art Exhibition at Beijing's Cultural Palace of Nationalities. Blue calico thus made its debut as highlight of a national-level exhibition center. The exhibition showcased more than 500 items and photos, and drew crowds of both local and overseas visitors. Wu selected 3,000 or more items and photos for his two-volume book, An Overall Collection of Chinese Blue Calico Vein Patterns, published in 2004, thus filling a blank in the field.

In 2006, the printing and dyeing of blue calico was listed among the first batch of National Intangible Cultural Heritage, and Wu was recognized as the inheritor of the craft. Three of his works won gold prizes at the Third China Folk Art Fair, and are on display at the National Museum of China and China National Arts and Crafts Museum.

Last year, Wu was invited to attend the Chinese Cultural Year in Italy. Some 100 pieces of archaic and new blue calico products, such as tablecloths, toys and bags, were exhibited in Rome, Florence and Venice. Wu introduced this historical culture to foreign visitors and also demonstrated the technological process of this traditional craft.

Wu feels intensely gratified at the honor bestowed on the blue calico handicraft. It is social affirmation of his 30-year efforts to research and preserve this age-old art, which he regards as a lifelong obligation. Wu is dedicated to carrying forward this splendid aspect of folk culture.