Luo Shuwei, a Chinese cultural historian, noted that glass painting is a product of early cultural exchanges between China and the West.

　　"Tianjin was a key trading port in the Qing Dynasty (1644-1911). Early glass paintings were mainly used for interior decoration, but later incorporated elements beloved by Chinese people, such as auspicious patterns, folk tales and figures, making them fashionable gifts for weddings, birthdays, housewarmings and shop openings," Luo said, adding that Tianjin's glass paintings, characterized by their adoption of traditional Chinese ink painting techniques, carry a unique local flavor and represent the folk memory of a specific era.

　　Cinquini's fascination with Chinese glass painting began at the State Museum of Hanover in Germany, where she interned during her master's studies at the University of Bologna. She helped curate a private exhibition of Chinese glass paintings collected by a German couple, marking her first close encounter with this art form and sparking her academic pursuit.

　　While researching, Cinquini came across an online article about Zhang Chunlin and decided to travel to China to meet him in person. In August 2025, she made her first solo trip to Tianjin, determined to explore this intangible cultural heritage.

　　Zhang, a fourth-generation inheritor of the glass painting dyeing, etching and grinding techniques, grew up immersed in the craft. He began learning glass painting from his father when he was around six or seven. Over the past five decades, Zhang has become one of the few craftsmen to master all three techniques, and can, notably, integrate them in his creations.

　　"It moved me deeply that an Italian researcher is so passionate about Chinese glass painting that she would cross half the globe to find me. Her dedication and eagerness to learn are truly admirable," Zhang said.