During the Spring Festival holiday, crowds thronged the square of Liujiabao village in Taiyuan, Shanxi province, as troupes performing beigun, or carrying pole dance, and lion dance paraded through the streets to resounding drumbeats. After five consecutive Spring Festival folk custom events, the thousand-year-old village is now affectionately known as a little town of intangible cultural heritage.

Rows of farm courtyards, restored to retain their original appearance, have been transformed into distinctive workshops of intangible cultural heritage. They feature native Shanxi crafts such as black-glazed pottery, huamo — colorful steamed buns — and lacquerware, as well as guqin, the traditional Chinese zither, and tea ceremonies from other provinces.

Stepping into any courtyard, visitors can watch artisans focus intently on their creations up close and try their hand at making crafts. "We have more than 100 such courtyards, forming a pattern of 'one courtyard, one culture'," Wu Lijun, director of the village's reception center, told China Daily.

Liujiabao is the hometown of Wang Qiong, a prominent official of the Ming Dynasty (1368-1644), with a history dating back more than 1,000 years to the Five Dynasties and Ten Kingdoms period (907-960) — the era depicted in the recently hit historical costume drama Taiping Nian (Swords into Plowshares). Despite its rich heritage, the ancient village was once mired in poverty.

"Back then, the village was so impoverished that we could barely cover basic operating expenses such as streetlight electricity bills, water pipe repairs and well maintenance," Wu said. "We held 1,000 years of history in our hands, yet couldn't find a way out. Our land lay fallow, courtyards sat empty, young people left to work elsewhere, and the annual income of the village collective was just over 100,000 yuan ($14,637)."

The turning point came in 2020.

"Led by Qiao Wuping, the secretary of the village Party committee, we visited numerous model villages integrating culture and tourism in Shaanxi, Fujian and Zhejiang provinces," Wu said. "Their development models could not be directly replicated, but they gave us crucial inspiration: we had to dig into our own roots and blaze our own trail."

During that period, the village tapped local resources and built the cultural brand "Hometown of Wang Qiong," laying the foundation for subsequent development.

"Wang Qiong's story brought us significant attention, and we then turned our focus to local artisans, the inheritors of intangible cultural heritage," Wu said. To attract more projects, the village renovated 100 idle courtyards and introduced a "three-year rent-free, ready-to-use" rental model for inheritors.

The village's long history, tranquil environment and preferential policies soon drew many artisans. Wang Xueqiang, a Shanxi native and inheritor of black glaze pottery craftsmanship, is one of them.

"I was recommended by a friend when I was struggling to find a place where I could create in peace while also connecting with the market," Wang said. "For artisans like me, one of the highest costs is venue rent. The policy gave us a three-year buffer period to focus on creation and market expansion."

The ICH Town model not only provides a creative environment for inheritors, but also leverages the traffic and resources generated by the cluster to help them expand their markets.

"With these projects gathered together, they are no longer fighting alone," Wu said. "The village carries out unified brand promotion and plans cultural tourism events, so every project can share the traffic dividend."

That shift is the most tangible change Wang has experienced since settling in the village.

"I no longer have to run around looking for publicity and sales channels," he said.

Wang's black-glazed pottery has been introduced to 10 offline stores in Taiyuan and to well-known scenic spots in Shanxi, including the Ancient City of Pingyao and Wutai Mountain.

The industry's development has also strengthened Wang's determination to pass on his craft. His workshop now employs more than 10 villagers and has taken on two local apprentices in their early 20s.

Over the past six years, driven by the "Hometown of Wang Qiong" and "ICH Town" projects, Liujiabao has evolved from a traditional agricultural village into a model for rural development.

The annual income of the village collective has surged to 2 million yuan, and more than 1,000 jobs have been created, enabling villagers to secure stable livelihoods in their hometown.

Today, Liujiabao has built a library, a performance hall, a nursing home and an elderly canteen that provides free meals for villagers over age 70. The success of rural revitalization has also drawn young people back.

"In the past, muddy roads were hard to travel, and young people left to find work," said Hao Jian, 34, who returned to the village six years ago and opened a farmhouse restaurant with homestay services. "Now, asphalt roads lead right to our doorsteps, and we can earn a living close to home, so everyone has come back."

Hao said the village has provided strong support for returning entrepreneurs, including rent exemptions and free renovations.

"I only needed to hire workers and purchase raw materials to open the business, with no worries at all," he said.

Intangible cultural heritage has not only improved villagers' lives, but also turned the village into a bridge for cultural exchange.

"In 2025 alone, we received more than 10 delegations from the United States, Europe and Southeast Asia," Wu said. "Some came to visit, while others came to learn about China's rural revitalization experience. Without exception, they all showed great interest in the crafts here, especially the Lihouhou."

Lihouhou is a folk fabric doll stitched in the shape of a tiger and made from various colored fabrics. It is a traditional, auspicious gift given to children. Originally, villagers made them from old clothes, bedsheets and door curtains, with every stitch reflecting daily life.

"For many people in Shanxi, this is a common childhood toy, but many international visitors are deeply touched by the simple creativity of rural Chinese women embodied in it, which comes from the land and daily life," Wu said. "This made us truly feel that cultures know no national boundaries."