Born in the “Home of Wax Printing”, I saw my elder generation working on wax printing and the product became scenery of my hometown in my eyes. As early as 2,000 years ago, the forefathers had already become skillful in wax printing. Grown up in such an environment wax printing became part of my life.  I studied in the attached school to the Art Department of Guizhou University from 1957 to 1959 and in 1960 I was assigned to work in Anshun Cultural Center where I started a wax-printing life. By the time, a wax-printing workshop was set up in the province and I was selected to work in the workshop as a full-time designer. I often went to countryside and was surprised to see that people, though experiencing a natural disaster and even could not eat enough, continued to carry out the work of wax printing. I was deeply moved by spotting that touching scene. Women were busy waxing, either by riverbanks or in yards. I was somewhat confused. Why they stuck it out when they had not enough to eat, and it was amazing they worked out beautiful patterns with penetrated cultural connotation. Is it why the ancient art could survive?
    I have been encouraged by their spirit and started to learn wax printing from local masses ever since. Gradually, wax-printing study became a habit of mine. As I understood more and more the art I found the beauty in it: a bird carrying a peach on the head, with flowers on its body and a guava on its tail; flowers blooming on head of a butterfly which having a long tail belonging to a phoenix and four season flowers blossoming in one branch with fruits in pistils. The combination of fish and bird turns to be a bat and a recombination makes flowers. Finally, the human, birds, animals and worms together make a pile of flowers. This wonderful feeling made me excited. Perhaps, from that time I really walked into the world of wax printing. At that time I traveled more than 100 villages around my hometown Anshun.