During the Tang Dynasty, She nationality moved to Fu'an and Jiaocheng region and as a result, She root carving became popular there. Further, the technique combining openwork carving and embossed carving with full color came into fashion then. Thereafter, by absorbing the means of chiseling and preserving scarred wood grain in northern Fujian, the root carving craftsmanship in Fu'an and Jiaocheng has evolved to be distinctive with local artistic style.

Root carving techniques of Fu'an include flat cutting, convex cutting and concave cutting methods, fire attack method, soil burial method, formula method, water grinding method and other natural means. All these techniques expose no carving traces, but make the natural model of root prominent and focus on the combination of natural beauty and artificial beauty. As a result, 30% comes from artificial work and 70% from the nature, showing both shape and beauty. Preservation of the nature appeal of color, shape, texture, taste and charm, teamed with the realistic, exaggeration, deformation and other techniques, fully demonstrates the wonderful charm of root carving art. So far, ancient dwellings in Louxia, Tanyang, Liancun and other villages in Fu'an are still preserved with exquisite and intact carved window lattices and eaves, proving the superb craftsmanship. In the late Qing Dynasty and the early Republic of China, Peng Zechun, a villager from Louxia Village, Fu'an learned from woodcarvers undertaking wooden building engineering there from Dongyang, Zhejiang and as a result absorbed the carving techniques of Dongyang. Further, his unique flat wooden carving technique made him well-known in the towm and left brilliant inheritage for construction and carving of dwellings in the village. Afterwards, Liu Meixian, grandson-in-law of Peng Zechun, inherited his wooden carving technique, improved the flat wooden carving technique and applied it in creation of root carving works. In the 1960s, Liu Meixian passed on the technique to his son Liu Jiefang, thus making the root carving technique survive.

Besides root carving in Fu'an, Jiaocheng, Ningde, also has some root carving techniques. As for creation, the natural shape and appeal of roots are stressed; the traditional process is adopted for treatment and attention paid to the original color and texture of roots. As a result, the carving works are dignified and imposing, primitive and elegant. Further, such works have no side effect and have distinctive local characteristics. In addition, by making artful use of the morphological features of roots, thinking mode of modern carving, modeling style and technique of expression, these root carving works come into being after processing the cut section and local parts of the original form to be changed through various modern carving techniques. As a result, no tool marks and chiseling signs are exposed and thus such works hold great technical value. Tu Yidao, a famous root carving carver in Jiaocheng, passed on his root carving technique to Zhang Changqing and then to Ye Shihe.

Symbolism, abstraction, deformation, exaggeration and other means are frequently used in root carving of eastern Fujian to show the infinite by the finite, thus leading to simple, concise, far-reaching and grand works. In addition to the strong natural root flavor and beautiful and charming appeal of modern carving art, it demonstrates the transition and integration of root carving art from simple folk art to quality carving art and thus carries higher artistic value.

The root carving technique of eastern Fujian has been incorporated in List of Nonmaterial Cultural Heritage of the province.