[Xiang Yunju] On the level and presentation of intangible cultural heritage in the Grand Canal National Cultural Park
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Important: The protection of the intangible cultural heritage of the Grand Canal and the connection and integrated protection of the tangible cultural heritage and intangible cultural heritage of the Grand Canal have received special attention since the beginning of its application for the World Heritage.
As a world cultural heritage, the Grand Canal is characterized by multi-faceted, subjectivity and vitality.
It is a unique linear cultural heritage with superposition in the protection of China's cultural heritage.
The Grand Canal is not only a national key cultural relic protection unit, but also many historical and cultural cities, towns, neighborhoods and villages on both sides of the river, scattered among which countless intangible cultural heritage are scattered.
The construction of the Grand Canal National Cultural Park makes it possible to implement Mr.
Luo Zhewen's "trinity" of the Grand Canal heritage protection idea of material cultural heritage, intangible cultural heritage, and natural landscape heritage, and provides a solid foundation for the establishment of intangible cultural heritage of the Grand Canal.
Clear identification standards and protection mechanisms have laid a solid foundation.
In view of the current problem of replacing the "Grand Canal Intangible Cultural Heritage" with general intangible cultural heritage, three identification principles of "symbolic","representative" and "regional" should be established to establish the intangible cultural heritage of the Grand Canal National Cultural Park.
The identification standards and definition levels of heritage make it recognizable.
Keywords: Grand Canal; Intangible Cultural Heritage; iconic; Representative; Regional Author Profile: Xiang Yunju, male, Vice Chairman of China Literature and Art Critics Association (Beijing 100083), Vice Chairman and Secretary-General of China Literature and Art Foundation, former President of China Art Newspaper, former Party Member and Secretary-General of China Folk Literature and Art Association, mainly engaged in folk culture research.
In June 2014, the China Grand Canal Project was successfully selected into the World Heritage List.
In July 2019, a meeting of the Central Committee for Comprehensive Deepening Reforms reviewed and approved the "Construction Plan for the Great Wall, Grand Canal, and Long March National Cultural Park." In August 2021, the National Cultural Park Construction Leading Group issued a series of documents such as the "Grand Canal National Cultural Park Construction and Protection Plan".
The overall idea is to integrate the cultural relics and cultural resources of the eight provinces and cities along the Grand Canal, in accordance with the method of "river lines, cities as beads, beads strung lines, and lines to surface" optimizes the overall functional layout, and deeply explains the cultural value of the Grand Canal in protecting and utilizing the Grand Canal heritage.
Efforts will be made to build the Grand Canal National Cultural Park into a national cultural business card that promotes the image of China, displays Chinese civilization, and demonstrates cultural confidence in the new era.
The rescue, protection, utilization, inheritance and development of the intangible cultural heritage of the Grand Canal, how we participate in it, how to take advantage of the trend, and how to contribute our own value and strength have become major issues of the times, requiring clearer cultural consciousness and Heritage route.
1.
The concept, protection objects and protection scope of the Grand Canal cultural heritage
The cultural heritage of the Grand Canal is a new type of heritage that is different from single and static heritage, and is also different from the solid linear cultural heritage such as the Great Wall and the Silk Road.
It has a long history and experienced complex historical and dynastic changes.
It has influenced and driven the development of a large number of capital cities, provincial capitals, small and medium-sized cities and rural market towns, shaped many specific functional towns, and derived countless cultural ecology, forms, and A living linear cultural heritage of a sample artificial river.
The Grand Canal once profoundly influenced and guided the pattern and direction of China's history.
It is also a major artery that promotes the reproduction of Chinese civilization, the migration of China's population, and the logistics connection between the north and south of China.
It can be said that the history of the Grand Canal is a history of civilized transportation in eastern China, a history of the unbroken north and south of China, and a history of the prosperity and prosperity of China's agricultural civilization.
At the beginning of the World Heritage application, China's Grand Canal heritage protection work has also been fully launched.
In 2006, the "Beijing-Hangzhou Grand Canal" was included in the sixth batch of national key cultural relics protection units; in 2013, the "Beijing-Hangzhou Grand Canal", the "Sui and Tang Dynasties Grand Canal" and "East Zhejiang Canal" merged into the seventh batch of national key cultural relics protection units "Grand Canal" project; In 2019, a number of newly excavated Grand Canal sites (Huaian Banzha Site, Tongzhou Dandeng Tower, etc.) became the eighth batch of national key cultural relics protection units and were merged into the previous "Grand Canal" project.
In 2014, the "Grand Canal of China" was approved to be included in the World Cultural Heritage.
The basic content and basic composition of its application object were the "Grand Canal" project, a national key cultural relic protection unit announced by my country.
After selection and confirmation by UNESCO experts, the main body of the world cultural heritage "Grand Canal of China" includes 27 sections of river heritage, with a total length of 1011 kilometers, and 58 related heritage sites.
The overall type of heritage includes gates, embankments, dams, bridges, water gates, fiber roads, docks, dangerous works and other canal water conservancy relics, as well as warehouses, government offices, stations, halls, and ticket gates that are associated with the canal on both sides of the canal.
Supporting facilities and management facilities.
In addition, it also includes some ancient buildings, historical and cultural districts, etc.
closely connected to the Grand Canal.
It was also in the initial stage of the application for a cultural heritage that the protection of the intangible cultural heritage of the Grand Canal and the integration and protection of the material cultural heritage and intangible cultural heritage of the Grand Canal received special attention.
In 2006, the China Folk Literary and Art Association held a national conference in Hangzhou, proposing for the first time that in addition to material cultural heritage, the Grand Canal heritage also has rich and huge intangible cultural heritage, which requires overall protection and integrated understanding of its value.
This initiative immediately received a positive response from Mr.
Luo Zhewen, the academic leader in the Grand Canal's heritage application.
At that time, when protecting cultural relics and tangible cultural heritage, few people in the cultural relics community had an interest in and attention to intangible cultural heritage.
Lao Luo's opinion is outstanding.
He proposed that the material cultural heritage, intangible cultural heritage, and natural heritage of the Grand Canal should be declared to UNESCO as a "three-in-one" special case, which shows his deep and comprehensive understanding of the Grand Canal's heritage.
The multi-faceted, subjectivity and vitality of the Grand Canal heritage are reflected in its extensive protection scope, which includes many large, medium and small cities and towns along the Grand Canal and in the basin, as well as a large number of named national-level historical and cultural cities.
Famous towns, neighborhoods, famous villages and traditional villages.
The formation and protection concepts of these cultural heritage protection lists, as well as the corresponding protection regulations, are based on material cultural heritage, covering, extending and involving the intangible cultural heritage in their cultural spaces.
In the formation of this overall and comprehensive protection concept, the thoughts and advocacy of Mr.
Luo Zhewen and Feng Jicai played a huge leading role.
As early as 1982, Luo Zhewen proposed that the protection of famous historical and cultural cities must have a "city-wide protection perspective", that is, the principles of integrity and comprehensiveness.
There are two core points: First, we must focus on protecting cultural relics, scenic spots, ancient and famous trees, old city streets, ancient ruins, ancient buildings and other specific signs showing historical and cultural cities in famous cities, but at the same time, we must also Protect the environment in which it is located and draw a certain protected zone around it; The second is to pay attention to the protection of traditional culture and art (i.e.
today's intangible cultural heritage, etc.) in famous historical and cultural cities, including valuable drama, folk art, music, dance, costumes, folk customs, cooking, diet, crafts with local characteristics, etc.
Because "these things were formed over the years of history, thus reflecting the history and culture of a city." The same thoughts and propositions were also vividly expressed when Feng Jicai talked about the protection of traditional villages in China.
He pointed out: "It (ancient village) has both material and intangible cultural heritage characteristics, and in the village, these two types of heritage are integrated and interdependent.
They belong to the same cultural and aesthetic gene and are a unique whole.
In the past, we once unilaterally classified some traditional villages into the category of material cultural heritage.
The result of this was that we only focused on protecting local buildings and historical landscapes, ignoring the spiritual and cultural connotation of the villages, and became mere bodies and existed only in form.
The heritage protection of traditional villages must be overall protection." The formation of such a protection concept is, on the one hand, in line with the actual situation of the survival and protection of China's cultural heritage, and is China's experience gained from practice that is different from the characteristics of international cultural heritage protection; on the other hand, it is also a protection feature that China's Grand Canal world cultural heritage must pay special attention to, and it is a prominent heritage personality that distinguishes it from other linear world cultural heritage.
2.
Intangible cultural heritage issues in the Grand Canal World Cultural Heritage
As a "linear cultural heritage", the Grand Canal World Heritage also benefits from international recognition of such world heritage protection concepts.
In 1994, the World Heritage Committee held a World Heritage Expert Meeting on Cultural Routes in Madrid, Spain, and proposed the concept of "cultural route heritage" for the first time, believing that its cultural characteristics contain cross-cultural factors or have cross-cultural influences.
The 2002 Madrid Consensus clearly states that the "cultural route" reveals the intangible and vibrant dynamic dimension of this cultural heritage, which transcends the material content of cultural heritage; the heritage objects are not limited to monuments, historical towns, and cultural landscapes are dynamically generated and full of vitality, and their dynamics and historical context have generated or continue to generate relevant cultural elements.
The Madrid Consensus believes from a scientifically forward-looking perspective that "cultural routes" have intangible spiritual attributes and inheritability that connects ancient and modern times, and points out that their intangible spirit has the intrinsic significance of connecting multiple cultural elements and promoting the overall formation of cultural routes; Emphasizing the fragility of its tangible heritage, the inheritance of folk customs, folk crafts, religion and culture in cultural routes plays an important role.
The "Madrid Consensus" mentions heritage objects and contents such as "intangible","intangible","spiritual attributes","inheritability","folklore","folk crafts","religion" and "culture", although their significance cannot be completely equivalent to what we now recognize as "intangible cultural heritage", However, considering that UNESCO had published the first batch of "masterpieces of oral and intangible heritage of mankind" in 2001 (later adjusted to "masterpieces of intangible cultural heritage of mankind"), it cannot be said that there is no connection between the two.
At least there is a considerable degree of intersection and overlap.
In other words, in "linear cultural heritage", intangible and intangible cultural heritage are important components.
When announcing and introducing the World Cultural Heritage Project of the Grand Canal of China, UNESCO pointed out: "The Grand Canal is the greatest masterpiece of water conservancy engineering in human history because of its very ancient origin, huge scale, and continuous development and adaptation to the environment.
It provides concrete proof of human wisdom, determination and courage.
It is an outstanding example of human creativity.
It demonstrates its technical capabilities and mastery of hydrology in a huge agricultural empire that originated directly from ancient China.
The Grand Canal witnesses the unique cultural tradition of managing the canal through a water transport system.
The economic and urban development along the route witnesses the core functions of the great agricultural civilization and the decisive role played by the development of waterway networks in this regard.
It fully demonstrates the technical capabilities of Eastern civilization.
Since the 7th century, through successive dynasties in China to today's China, the Grand Canal has been a powerful factor in economic and political unity, and an important place for cultural exchanges.
It created and maintained the unique lifestyle and culture of the people along the canal.
For a long historical period, a large part of China's territory and population have felt the influence of the canal." Although in practice, UNESCO lacks verifiable and visible object representations of the world's linear cultural heritage and the "living culture" or intangible parts of the world heritage (it adopts a separate listing method for the protection of intangible cultural heritage), the specific river sections, site locations and heritage objects of the Grand Canal World Heritage are still all material heritage, but its heritage concept still incorporates relevant connotations and intentions.
This also reserves a broad cultural space for China to carry out the protection, utilization and presentation of the Grand Canal heritage.
Therefore, after the Grand Canal of China successfully became a world heritage site, the "Intangible Cultural Heritage of the Grand Canal" or "Intangible Cultural Heritage of the Grand Canal" became a very active hot topic in the colorful heritage publicity and display along the Grand Canal and in the basin.
At present, the common practice is to classify all intangible cultural heritage projects distributed in urban and rural areas in the Grand Canal Basin as "Grand Canal Intangible Cultural Heritage" in the river course where the World Heritage Site of the Grand Canal is located, the site site is located, and the urban and rural areas of the Grand Canal Basin.
According to statistics from relevant parties, this vast space involves more than 1200 ancient cities, ancient towns, and ancient villages, and contains more than 1000 national-level intangible cultural heritage items (including expansion projects).
If world-class, national, provincial, municipal and county-level intangible cultural heritage lists are collected, the number and variety will be huge, which can be said to be spectacular.
This method for identifying intangible cultural heritage of the Grand Canal is convenient to operate and is also easy to connect with the protection, inheritance and utilization of national intangible cultural heritage.
However, there are also obvious problems.
For example, the various exhibitions, displays, and demonstrations of the "Grand Canal Intangible Cultural Heritage" we see every day seem to be no different from the general "intangible cultural heritage" we know.
The so-called "Grand Canal Intangible Cultural Heritage" is basically equivalent to the collection of intangible cultural heritage of the eight provinces and cities in the Grand Canal Basin, and fails to highlight the characteristics, characteristics and characteristics of the Grand Canal Intangible Cultural Heritage.
Among the intangible cultural heritage activities carried out by various provinces and cities in the Grand Canal Basin in the name of the intangible cultural heritage of the Grand Canal, it can be found that some activities have selected and highlighted narrow and related intangible cultural heritage of the Grand Canal, and some places have also deliberately carried out some special and special surveys on the collection of intangible cultural heritage of the Grand Canal, but none of them have formed a high degree of awareness.
More often, various intangible cultural heritage projects that are located on both sides of the Grand Canal and have weak relevance to them are mixed together under the name of the "Grand Canal".
In a state of ambiguity, ambiguity and chaos.
For example, after the completion of the China Grand Canal Museum in Yangzhou City, an exhibition of the Grand Canal Intangible Cultural Heritage was set up in the exhibition hall.
When designing the exhibition, relevant personnel faced all the intangible cultural heritage of the eight provinces and cities along the river, including not only the 10 categories of the national intangible cultural heritage classification, but also more than 1000 national-level intangible cultural heritage projects in the eight provinces and cities.
How to choose, the exhibition designers took a lot of trouble.
Finally, they focused on intangible cultural heritage projects that have an endogenous, development and evolutionary relationship with the canal, and tried to explore the connection between intangible cultural heritage and the canal from multiple perspectives.
The final content includes: "Traditional wooden boat making skills and boatmen's trumpets are related to canal transportation or labor; opera and acrobatics in various places are related to leisure life along the canal; the development of guqin, Peking Opera, and Kunqu Opera has the attribute of blending north, south, east and west cultures; Hu Bi, Su Fan, combs, etc.
are originally southern products with regional characteristics, which can be sold to the north because of the canal; the nuclear boats in nuclear carving are related to local characteristic projects along the canal; Hebei Hengshui Laobaigan, Tianjin Mahua, Shandong Dezhou braised chicken, Jiangsu Zhenjiang balsamic vinegar, Yangzhou pickles, and Zhejiang Shaoxing Huadiao wine are specialties along the canal, etc." From a rigorous theory, except for the first connection, which is "related to canal transportation or labor", which is relatively closely related, several other connections maximize the consideration and refinement of the "canal nature" of intangible cultural heritage, but these concepts or connections are universal content in general intangible cultural heritage projects, and are not highly recognizable and clear concepts.
Their "canal nature" has not yet been clearly distinguished from the general regional intangible cultural heritage identification.
Obviously, the "Grand Canal Intangible Cultural Heritage" must be included in the "Grand Canal Basin Intangible Cultural Heritage".
The former and the "Grand Canal World Heritage"(material cultural heritage) are mutually exclusive and have rich forms.In the expression and presentation of linear cultural heritage internationally, the tangible material part is usually relatively formed and easy to grasp, while the intangible part is relatively scarce and difficult to grasp (Such as the Mayan Roads, Roman Empire Roads, the Trade Route between the Two Rivers, Hadrian's Great Wall, the Semelin Railway, the Darjeeling Railway, the Frankincense Road, the Cobrada de Humaihaka Valley, the Kii Mountains Resort and Pilgrimage Roads, the Indus River Exchange Route, the Greek Ocean Route, the Inca Route, and the Struvi Survey Site, etc.).
On the contrary, the intangible cultural heritage situation of the Grand Canal in China is not that the varieties are scarce but that they are too complicated.
It is the difficulty of choosing another situation.
Fortunately, the real "Grand Canal Intangible Cultural Heritage" can be defined and confirmed, and this definition and confirmation is necessary and necessary.
This will provide us with the possibility to "integrate" the material cultural heritage and intangible cultural heritage of the Grand Canal, and can also truly explore a unique paradigm for the protection and presentation of international linear cultural heritage.
3.
Defining levels of intangible cultural heritage in the Grand Canal National Cultural Park
In addition to the current need for various Grand Canal intangible cultural heritage display activities to highlight and highlight the characteristics of the "Grand Canal", and further conduct in-depth interpretation of its relevance and popularize knowledge, the planning and construction of the Grand Canal National Cultural Park also puts forward extremely high requirements for the necessity, urgency and importance of the above work.
The author believes that the basic definition or core concept of the Grand Canal National Cultural Park is to take the Grand Canal World Heritage as the core and the Grand Canal, a national cultural protection unit, as the basic scope, integrating large, medium and small cities and towns along the Grand Canal as well as cultural traditions with the characteristics of the Grand Canal.
A unique cultural landscape is formed by tradition and natural landscape.
In other words, neither the World Heritage Objects of the Grand Canal (Heritage Sections, Points List) nor the National Cultural Protection Objects of the Grand Canal include the "traditional culture" of the famous historical and cultural cities, towns, and villages mentioned by Messrs.
Luo Zhewen and Feng Jicai, and the intangible cultural heritage of the Grand Canal, let alone the natural landscape heritage involved in it.
The protection of world cultural heritage, starting from the protection of material cultural heritage, has always focused on "ancient buildings, sites, cultural relics, tombs, historical locations", etc.
Although its protection objects have continued to expand to ancient villages, ancient towns, ancient cities, and dual heritage of culture and nature, cultural landscape heritage, cultural route heritage, etc., all of which are based on "objects" of protection.
The "non-materiality" of world heritage has always been a difficult problem to quantify, embody, and objectify in the protection of world heritage.
It is also a problem that remains conceptual and difficult to practice.
As for how to integrate tangible cultural heritage and intangible cultural heritage in the same cultural space, there are few successful cases.
To solve the above problems, we can place our hopes on the pioneering construction of the Grand Canal National Cultural Park.
With the establishment of the Grand Canal National Cultural Park, the above protection shortcomings and deficiencies are expected to be made up for.
Mr.
Luo Zhewen's ideal of "three-in-one" protection and presentation of the material cultural heritage, intangible cultural heritage, and coastal natural landscapes of the Grand Canal can be fully implemented in the construction of the Grand Canal National Cultural Park.
In fact, the cultural heritage of the Grand Canal has profound connotations, broad contents, and rich connotations.
No single heritage perspective can exhaust the reality and obtain its authenticity.
Integration, integration and aggregation are the only options.
For example, the "historical documents" and "art culture" mentioned by Luo Zhewen in the protection of historical and cultural cities also have outstanding characteristics in the Grand Canal heritage.
The well-known painting scroll "Riverside Picture during the Qingming Festival" is a true, vivid and artistic reproduction of the historical scene of the Grand Canal,"the spring watch of the Bianqu and the boats dozens of miles".
The climax of the scroll is the dramatic scene of a large ship crossing the bridge on the artificially built canal (Tongji Canal) in Bianjing and a dramatic scene of a large ship crossing the bridge.
There was a lot of excitement on and off the bridge.
The boatmen pushed poles and lowered their masts, and the people on the bridge were stunned and nervous.
This is not only the central picture of "Riverside Picture at the Qingming Festival", but also a reflection of the important position and huge influence of the Grand Canal and its water transport in urban life in the Northern Song Dynasty.
In addition, similar works that depict ancient canal cities include the Ming Dynasty's "Map of River Defense" and the Qing Dynasty's "Map of Prosperity in Suzhou", etc.
In terms of historical documents, there is a written version of the "Yangzhou Painting Boat Record", which is known as the "Riverside Map during the Qingming Festival", which provides a panoramic record of Yangzhou's urban muscles, geography, water system, humanities, and charm as a city of the Grand Canal.
In addition, there are countless classical literary works such as Fu, poems, Ci, and articles about the Grand Canal: Lu Ji's Fu "Xing Si Fu", Han Ji's legendary "The Story of Emperor Yang Kaikai", Bai Juyi's poem "Feeling on the Bianhe Road", Wang Anshi's poem "With the Wu Censor's Speech on the Huai River", etc., Zhou Bangyan's poem "Yuchi Cup·Lihen", etc.
These rich literary works and documentary heritage all belong to the UNESCO category of "World Memory Heritage", while my country has the heritage type of national archives and documentary heritage.
It can be completely incorporated into the type of "Grand Canal Memory Heritage" and integrated into objects for protection, dissemination and presentation, so as to exist and be reflected in the Grand Canal National Cultural Park.
In order to achieve the combination of tradition and modernity, protection, inheritance and utilization and development, the planning and construction of the Grand Canal National Cultural Park will be combined with the conditions of various places along the river to add and build new "canals" suitable for leisure economy, tourism development, and cultural industries.
Cultural space ".
This "canal cultural space" should of course include the Grand Canal Intangible Cultural Heritage Museum, exhibition halls, industrial parks, landscape areas, etc.
Since the cultural objects and cultural scope covered by intangible cultural heritage basically include all traditional culture, art, and technical folk customs except classics, languages, and writers and literature, these cultural spaces are not only spaces for the activation of the memory heritage of the Grand Canal, but also It is a cultural space for the living inheritance of the Grand Canal's intangible cultural heritage.
The "Plan for the Construction of the Great Wall, Grand Canal, and Long March National Cultural Park" reviewed and approved by the Central Committee for Comprehensively Deepening Reforms emphasized that the spirit of the 19th National Congress of the Communist Party of China must be fully implemented under the guidance of Xi Jinping Thought on Socialism with China Characteristics for a New Era, with the Great Wall, Grand Canal, and Long March A series of cultural relics and cultural resources with clear themes, clear connotations, and outstanding influence as the backbone, vividly presenting the unique creations, values, and distinctive characteristics of Chinese culture, making the Great Wall, Grand Canal, The coordinated advancement of the protection, inheritance and utilization of cultural relics and cultural resources along the Long March has taken shape.
Judging from the connotation and extension of the Grand Canal National Cultural Park defined above, the author believes that the geographical boundary of the Grand Canal National Cultural Park includes several levels of the same space: First, the geographical space of the Grand Canal World Heritage, that is, the object, scope and route of the Grand Canal World Heritage recognized by UNESCO are the core.
Therefore, the Grand Canal National Cultural Park also includes three parts: the Beijing-Hangzhou Grand Canal, the Sui and Tang Dynasties Grand Canal, and the East Zhejiang Canal: Tonghui River, North Canal, South Canal, Huitong River, Zhong (Yun) River, Huaiyang Canal, Jiangnan Canal, East Zhejiang Canal, Yongji Canal (Wei River), and Tongji Canal (Bian River), covering 8 provinces and cities including Beijing, Tianjin, Hebei, Jiangsu, Zhejiang, Anhui, Shandong and Henan.
The second is the geographical distribution of key national cultural relics protection units in the Grand Canal, that is, they overlap with the World Heritage of the Grand Canal on the boundary, but they will exceed the World Heritage in specific river sections and specific sites.
The third is the geographical space of the natural landscape and newly discovered important canal cultural relics and site sites.
The above geographical boundaries continue to overlap with the previous two levels, but they will be more abundant and diverse in specific river sections and site sites than national cultural protection units.
In the above hierarchical or hierarchical geographical spaces, the cultural space formed by the Grand Canal National Cultural Park roughly forms such a hierarchical overlap: First, the core area, including the Grand Canal's rivers, docks, sluices, bridges, hubs, dams, shipping stations, management stations, salt transportation offices, temples, halls, warehousing, Canal Governor's Office, Water Transportation Office, etc.; The second is the supporting facilities and ancillary spaces along the canal, including inns, markets, villages, water towns, as well as the starting city, mid-point city, and terminal city of the river section; the third is the natural landscapes with outstanding value along the way, such as lake scenery, swamps, wetlands, etc.; The fourth is the ancient capital city in the Beijing-Hangzhou Grand Canal, the Sui and Tang Grand Canal, and the East Zhejiang Canal (Such as Hangzhou, Luoyang, Kaifeng, Beijing, etc.), a famous historical and cultural city among large, medium and small cities on both sides of the canal (such as Ningbo, Jiaxing, Suzhou, Wuxi, Zhenjiang, Yangzhou, Jining, Tianjin, etc.), famous historical and cultural towns and villages along the coast (such as Tangqi Town in Hangzhou, Nanxun Town in Huzhou, Shimen Town in Jiaxing, Pingwang Town in Suzhou, Shaobo Town in Yangzhou, Nanyang Town in Jining, etc.), famous historical and cultural streets (such as Wuxi Qingmingqiao Historical and Cultural District, Suzhou Shantang Street, Gaoyou Nanmen Street, Beijing Yandai Xie Street and Suzhou Street, etc.).
This four-level overlapping cultural space is geographically expanding layer by layer, and the actual geographical space it occupies is much larger than the geographical space of the Grand Canal World Heritage Site.
Similarly, the "Intangible Cultural Heritage of the Grand Canal National Cultural Park" can and should also be divided into levels for rational use and more clearly, more eye-catching and more accurately match, match, echo, and interpret each other with the above levels of material cultural heritage.
It can be divided into the following levels and categories: First, the "Grand Canal Intangible Cultural Heritage" on the Grand Canal World Heritage Protection Route.
This is the core space, including the four levels of the cultural space formed by the above-mentioned Grand Canal National Cultural Park.
Intangible cultural heritage closely related to the history, culture, life, waterway, water transport, production, and folk customs of the canal in the "core area" and "supporting facilities and ancillary spaces along the canal".
Second, the "Grand Canal Intangible Cultural Heritage" within the planning scope of the Grand Canal National Cultural Park is extended to "natural landscapes with outstanding value" on both sides of the Grand Canal.
Its visual heritage concept is that "the river is the line and the city is the" The interaction and relevance of beads, beads strung in line, and lines to surface "reflect the mobility, dissemination and inheritance of intangible cultural heritage.
Referring to the "Outline Plan for the Protection, Inheritance and Utilization of Grand Canal Culture" and the "Grand Canal National Cultural Park Construction and Protection Plan", its heritage utilization principles are to "deeply explore and enrich the cultural connotation of the Grand Canal, fully demonstrate the culture carried by the Grand Canal's remains, and activate the Grand Canal's flowing accompanying culture, carry forward the culture condensed in the history of the Grand Canal, deeply understand the connotation and extension of the Grand Canal culture from these three levels, and highlight the historical context and contemporary value of the Grand Canal.
In this way, we will lead the protection, inheritance and utilization of the Grand Canal culture." Therefore, at this level, it is inevitable to fully explore and vigorously integrate the intangible cultural heritage of the Grand Canal.
Its intangible cultural heritage objects will take the functional culture of the canal as the core and introduce intangible cultural heritage that flows, spreads and influences by the function of the canal, especially some Intangible cultural heritage that flows and spreads linearly will have more rationality as the intangible cultural heritage of the canal, and the inclusiveness of the cultural space of the Grand Canal will also be expanded.
Third, the "Grand Canal Intangible Cultural Heritage" distributed and spread in the cities and populated areas within the basin through which the Grand Canal flows can basically be regarded as the intangible cultural heritage of the entire basin, or can also be called the Grand Canal in a broad sense.
Intangible cultural heritage.
This is to grasp the intangible cultural heritage of the Grand Canal National Cultural Park from geographical space and based on the material cultural heritage distribution, structure, composition, and route of the Grand Canal World Heritage.
However, because intangible cultural heritage has its own unique generation mechanism and distribution characteristics.
Therefore, limited to this, our understanding of the intangible cultural heritage of the Grand Canal is still superficial and vague, and we still need to further advance the level and depth of understanding.
4.
The "Three Natures" Principles for the Identification of Intangible Cultural Heritage in the Grand Canal National Cultural Park
The intangible cultural heritage of the Grand Canal Basin is complete in categories, rich in forms, and diverse.
How to confirm the nature, character and function of the "Intangible Cultural Heritage of the Grand Canal National Cultural Park" is a difficult problem.
Since the time they have been gathered together under the above concepts is relatively short, they are faced with two embarrassing situations: on the one hand, there is almost no special professional investigation of the intangible cultural heritage of the Grand Canal, and the sources of the intangible cultural heritage of the Grand Canal in the narrow sense are insufficient.
China Folk Literary and Art Association has conducted large-scale surveys of folk literature, folk culture, folk crafts, and folk art many times in the past 70 years, but it has never conducted a survey of intangible cultural heritage with the theme of the Grand Canal.
All intangible cultural heritage projects currently confirmed that are labeled "Grand Canal Intangible Cultural Heritage" are extracted from the national intangible cultural heritage selected in the past.
This has led to an insufficient amount of intangible cultural heritage in the narrow sense of the Grand Canal.
On the other hand, large, medium and small cities, villages and towns in the Grand Canal Basin have identified and accumulated a large amount of intangible cultural heritage.
However, due to insufficient research, it is difficult or impossible to choose.
It is often simply to label the general or broad intangible cultural heritage in the basin.
Cultural heritage is labeled as "Grand Canal Intangible Cultural Heritage".
This makes various activities marked with the "Grand Canal Intangible Cultural Heritage" highly similar or even similar to other intangible cultural heritage activities and lack recognition.
This method of delineating the intangible cultural heritage of the Grand Canal is like simply cutting a piece along the Grand Canal route from the map of my country's fourth-level Intangible Cultural Heritage List and naming it "Grand Canal Intangible Cultural Heritage".
This is obviously not comprehensive, detailed and scientific enough.
To solve these two problems, we must further clarify the attributes and characteristics of the "Intangible Cultural Heritage of the Grand Canal National Cultural Park" from within the intangible cultural heritage, and strengthen the research on the canalness of the existing intangible cultural heritage in the Grand Canal Basin.
If possible, organize a special survey or survey of the "Intangible Cultural Heritage of the Grand Canal National Cultural Park".
It is also necessary to vigorously strengthen research on intangible cultural heritage that affects or spreads throughout the entire basin, fully explore such intangible cultural heritage, study its intrinsic, regional or entire relationship with the canal, and make scientific interpretations.
Based on this, the identification of the "Intangible Cultural Heritage of the Grand Canal National Cultural Park" can be grasped based on the principles of "three natures", namely,"symbolism","representativeness" and "regionalism".
(1) Landmark intangible cultural heritage in the Grand Canal Basin
The iconic intangible cultural heritage of the Grand Canal Basin is the intangible cultural heritage that is directly related to the heritage of the Grand Canal and belongs to its important components, facts or consequences.
It is the intangible cultural heritage with world heritage sites and sections as the core and associated with it.
The main objects of this iconic intangible cultural heritage include:
The first is canal engineering technology, ship lock construction technology, hub engineering design technology, water conservancy wisdom, bridge technology, etc.
For example, Xinghua City, Jiangsu Province has included "traditional wooden boat manufacturing skills" at the national level and "stone bridge building skills" in Shaoxing.
At present, there is very little research, investigation, and confirmation of such "technical" intangible cultural heritage, and there is a lot of room for academic expansion.
The second is the intangible cultural heritage of folk literature.
Including the legends of the Grand Canal, such as the published "Legend of the Jining Grand Canal" and "Legend of the Tongzhou Grand Canal".
Labor songs and trumpets of trackers and boatmen, such as "Tianjin Caoding Ballad"; legends of place names of canals, such as the published "Legend of Historical Place Names of Wangting, Ancient Town of Canal"; legends of characters in the Grand Canal, such as "Legend of the Old Man Bai Ying","The Story of Emperor Yang of the Sui Dynasty Building the Grand Canal" and "Legend of Qianlong's Going to Jiangnan"; there are also legends of the canal water god, the legend of the dragon king and the water-guarding beast, and the legend of the iron ox.
The third is the unique folk customs and customs related to the canal.
For example, the "Net Boat Festival" and "Walking White Boat" in Jiaxing, Zhejiang, the "High-pole Boat Skills"(aquatic folk acrobatics in the silkworm god sacrificial ceremony) included in the national-level intangible cultural heritage in Tongxiang, Zhejiang, the "Kaicao Festival" in Tongzhou, Beijing, the "Water Town Social Opera" and "Dayu Sacrifice" in Shaoxing, Zhejiang, the belief in the Longwang Temple and the custom of "Dragon Dance" running through the entire canal, as well as the Guandi Temple, the Dawang Temple, the Mazu Temple, the Taishan Niangnu Temple, the Water Temple, the Land Temple, the Four Great Golden Dragon King Temple, and the Taibo Temple.
Fourth, intangible cultural heritage projects listed by UNESCO as the "Representative of the Intangible Cultural Heritage of Humanity" are deeply related to the Grand Canal (such as grain, salt, silk, ceramics, tea, wood, stone, building materials transported by the canal's water transport logistics, as well as transportation through the canal.
Promote the connection of some cultural forms from north to south and spread across the entire line).
Such as Kunqu Opera, China woodblock printing techniques, China seal cutting, China calligraphy, China paper-cutting, Nanjing Yunjin weaving techniques, Dragon Boat Festival, Mazu belief customs (in addition to coastal cloth, also widely worshipped along the Grand Canal), China traditional mulberry silk weaving techniques, Longquan celadon traditional firing techniques, traditional acupuncture, Peking Opera, China shadow play, China abacus arithmetic, 24 solar terms, etc.
Fifth, projects in China's national intangible cultural heritage that are deeply related to the Grand Canal (some of them overlap with the "Representative Works of Human Intangible Cultural Heritage").
For example, Beijing: Peking Opera, Pingju Opera, shadow puppet opera, cross talk, Beijing-rhyme drum, Shuilai Bao, Tianqiao Zhongfan, Tianqiao wrestling, cloisonne, roast duck technology, Tongrentang traditional Chinese medicine culture, etc.; Tianjin: Jinmen Dharma Drum, Mazu Festival, etc.; Hebei: Hebei Bangzi, Luantan, Cangzhou Martial Arts, Hengshui Interior Painting, Quyang Stone Carving, Cizhou Kiln Burning Skills, etc.; Shandong: Liangzhu Legend, Dragon Dance, gourd Carving, Dongchangfu Woodblock New Year Picture, Salt-drying Skills, Dezhou Braised Chicken Making Skills, Silk Dyeing and Weaving Skills, etc.; Henan: Legend of Liang Zhu, Dragon Dance, Henan Opera, Zhuxianzhen woodblock New Year pictures, Ru porcelain firing skills, etc.; Jiangsu: The Legend of the White Snake, Kunqu Opera, Liuqin Opera, Puppet Show, Yangzhou Pinghua, Suzhou Pingtan, Yangzhou Tanci, Taohuawu woodblock New Year pictures, Nanjing Yunjin Weaving Skills, Traditional Gardening Skills, Qinhuai Lantern Festival, etc.; Zhejiang: The legend of West Lake, the legend of Guanyin, high-pole boat skills, gold and stone seal cutting, Longquan celadon firing skills, green tea making skills, woodblock printing skills, silk weaving skills, traditional wooden boat making skills, stone bridge building skills, Yue kiln celadon firing skills, Dayu Festival, Shuixiang social opera, etc.; Anhui: Huizhou opera, Huizhou three carvings, Xuan pen making skills, She inkstone making skills, Hui ink making skills, rice paper making skills, green tea making skills, etc.
Most of the above projects are intangible cultural heritage projects born out of the Grand Canal, or have historical connections with the Grand Canal, deep or shallow, near or far, long or short.
It is just that the knowledge interpretation and popularization we have done are not enough.
We will not carry out one by one here, but this kind of work undoubtedly needs to be carried out in depth and extensively as soon as possible.
(2) Representative intangible cultural heritage of the Grand Canal Basin
The representative intangible cultural heritage of the Grand Canal Basin is the intangible cultural heritage of the Grand Canal that is indirectly related to the heritage of the Grand Canal and has certain influence and relevance.
It is also related to the cultural relics sites, lines and surfaces of the "Grand Canal", a national-level cultural relics protection unit.
Intangible cultural heritage.
This kind of representative intangible cultural heritage mainly has three characteristics: First, the intangible cultural heritage that spreads linearly along the canal, which has cross-regional characteristics, such as the custom of dragon dancing, the legend of Liang Zhu, the Taohuawu New Year pictures in woodblock New Year pictures, Zhuxian Town New Year pictures, Dongchangfu New Year pictures, Yangliuqing New Year pictures, the northbound route and garden distribution of Jiangnan gardens and gardening technology, ceramics, tea leaves, etc.
In addition to national-level representative works, there are many provinces, cities, and county-level intangible cultural heritage that need to be included.
The second is the intangible cultural heritage transported through the canal from one end of the canal (starting point) to the other end (ending point), such as the Peking Opera produced by Huiban in Beijing, the gold bricks fired in Xiangcheng District, Suzhou, Jiangsu Province and transported exclusively to the Forbidden City, and the silk transported by the canal.
The third is the intangible cultural heritage transported north via the Grand Canal to the Land Silk Road and south to the Maritime Silk Road.
Among them are the Tang Dynasty pipa left in Japan, the legend of the Hu people recognizing treasures in the Tang Dynasty, and the spread of cloisonne and snuff bottles from west to east.
The Grand Canal has key node connections with many major historical events and important historical figures in exchanges between China and foreign countries.
The Grand Canal heritage includes traces of Puharin and Sulushi, the trajectory of envoys sent to the Tang Dynasty, and the historical sites of Zheng He's voyages to the West.
There are Matteo Ricci's journey along the river to Beijing in the Jin Dynasty and Marco Polo's journey down the river from the Yuan Dynasty.
There are records of many canal gates, dams, and bridge landscapes on the way south carrying intangible cultural heritage gifts given by Qianlong, and so on.
(3) Regional intangible cultural heritage in the Grand Canal Basin
The regional intangible cultural heritage of the Grand Canal Basin refers to all intangible cultural heritage distributed in all cities and villages related to the Grand Canal Basin, as well as some intangible cultural heritage that radiates, extends and spreads to areas outside the Grand Canal Basin.
Such intangible cultural heritage includes broad and narrow: broad terms refer to areas beyond the scope, and narrow terms refer to some landmark and representative items.
For example, Yangzhou's intangible cultural heritage is a combination of the three, while Beijing's intangible cultural heritage can be divided into two parts, broad and narrow, depending on its different connection with the canal.
Another example is the legend of Shenmu Mountain in Sichuan and the Beijing Shenmu Factory, Taiji Factory and the "Inscription of Shenmu Mountain God Temple", as well as Qianlong's "Shenmu Ballad" and the establishment of Shenmu Stele.
Ming-style furniture spread from Yangzhou to the north all over the country.
Huizhou three carvings (wood, stone, brick) and Liaocheng Shanshan Guild Hall and Ningbo Sanjiangkou Guild Hall and their three carvings, brick carvings from Tianjin and Beijing, Western-style buildings in Nanxun and the Dashui in Yuanmingyuan, Beiying Village, where descendants of King Sulu lived in Dezhou and its Islamic beliefs, Islamic snacks (fried pot cakes and fried sesame paste) and other customs are isolated.
5.
Main difficulties and suggestions for the protection and utilization of the intangible cultural heritage of the Grand Canal
The intangible cultural heritage distributed and inherited along the Grand Canal is intertwined due to the flow of history, population, materials, and culture.
Therefore, it is particularly difficult to try to sort out a clear and unambiguous intangible cultural heritage of the Grand Canal.
It still takes hard work to gradually clarify its appearance.
In terms of protecting and utilizing the intangible cultural heritage of the Grand Canal, the main difficult problems are:
First, there is insufficient excavation, research, and attention to the intangible skills in the material heritage of the Grand Canal.
There is insufficient investigation, correlation and correlation of various intangible cultural heritage derived from material relics, and one-by-one correspondence of its material heritage and intangible cultural heritage.
There is insufficient research on heritage.
Second, there is insufficient investigation into canal legends and multiple genres of folk oral literature.
The "storytelling" characteristics of canal folklore are not enough in the presentation and utilization of existing intangible cultural heritage (including animation, commentary, literary and artistic themes), and there is no good use of canal folklore stories to tell the "Grand Canal Story".
Third, there is insufficient research on the different personalities, profound contents, unique forms, and spirit of the intangible cultural heritage of various cities along the canal (cities with river sections pivots, starting points, ending points, and transfer points).
For example, Beijing has done a good job in researching and presenting the relationship between the intangible cultural heritage of canals and the Forbidden City, and Tongzhou's intangible cultural heritage clusters, but it still needs to vigorously promote relevant experiences and connect them into pieces.
Among them, the three canals of Suitang, Beijing-Hangzhou, and Eastern Zhejiang each have different historical time points, their own starting and ending points, and are also related to each other.
The cities and node towns at both ends of the three river courses all have their own personalities, which need to be echoed and confirmed in terms of their intangible cultural heritage characteristics.
Fourth, there is insufficient research on the relationship between the intangible cultural heritage of the Grand Canal and non-Grand Canal intangible cultural heritage (other intangible cultural heritage) in various cities and locations, and the differences and correlations have not been fully demonstrated and profoundly elaborated.
Fifth, there is insufficient research on the "linear"(communication, flow, living state) factors of the Grand Canal's intangible cultural heritage, their communication process, and their communication impact, and insufficient disclosure.
Sixth, after the intangible cultural heritage of the Grand Canal became spillover intangible cultural heritage, the relationship between its role as the intangible cultural heritage of the Grand Canal and its role as the intangible cultural heritage of "China" is close.
How to present the similarities and differences here, lack of in-depth academic attention.
For example, as a classic opera form that was born with the spread of the Grand Canal, what kind of connection does Peking Opera continue to have with the Grand Canal after its independent formation, and what kind of Grand Canal spirit does it retain? In this way, there are related problems in many intangible cultural heritage of the Grand Canal.
Seventh, the Grand Canal is deeply related to the Land Silk Road and the Maritime Silk Road.
There is insufficient research and popularization on the relationship between them and its functions and contributions to transportation and cultural exchanges between China and foreign countries.
All these difficult issues are problems that we will inevitably encounter and face when exploring and deepening the intangible cultural heritage of the Grand Canal.
We need to continuously raise awareness, increase research, improve policies, and make up for it from this unprecedented heritage practice.
Shortboard.
To this end, this paper puts forward a number of countermeasures and suggestions to solve the problem for consideration and research.
There are also 7 specific articles:
First, all localities in the Grand Canal Basin should increase the re-census of thematic intangible cultural heritage (the iconic and representative intangible cultural heritage of the Grand Canal).
In the past, we conducted a national census of the country's intangible cultural heritage and ethnic folk literature and art (the top ten collections of literature and art).
After the Grand Canal became a national security unit and a world heritage site, some places also started to conduct surveys again, and some places organized some Special special special collection activities, but all in local areas.
In addition, the awareness of investigation seems to only record new images based on general intangible cultural heritage attributes, and the "Grand Canal nature" does not appear as a conscious awareness, which is quite regrettable.
The Grand Canal is a major historical corridor, one of its core concepts and practical functions serves the core of governance and the core city of the country (capital city).
Therefore, it is also an important "tribute" channel in history.
Most of the tributes from past dynasties are specialties, unique skills, special handicrafts, etc., and most of them belong to intangible cultural heritage.
These "tribute" intangible cultural heritage has always been a blind spot in our work, and it is necessary to conduct a special survey.
Second, the existing intangible cultural heritage of the Grand Canal at the provincial, municipal and county-level levels should be declared to national intangible cultural heritage projects according to their own special canal attributes, and should receive "special approval" and separate listing.
This move will open up new cultural resources for national-level intangible cultural heritage projects.
For example, Cangzhou in the Hebei Canal Basin currently has 7 national-level intangible cultural heritage, 44 provincial-level intangible cultural heritage, and 123 municipal-level intangible cultural heritage.
It is believed that considerable projects with Grand Canal attributes can be excavated among them.
In a city like this, there are a considerable number of prefecture-level intangible cultural heritage in the entire Grand Canal basin.
The intangible cultural heritage of the canal must have a broad and rich collection.
As long as excavation and identification are increased, this heritage resource will be a rich mine.
For example, the weir dam sites on both sides of the Cao'e River in Zhejiang (including the Lianghu weir site, Tugtuanlong Zhakou site, and Laobadi weir dam) are important components of the Eastern Zhejiang Canal.
The naming of the Cao'e River, the legend of Cao'e, and Cao'e Temple (national security unit) and local Dragon Boat Festival folk customs (commemorating Cao's throwing into the river) all have a unique character of the canal and have become one of the twenty-four filial piety spread across the country.
They are also regional canal intangible cultural heritage worth studying.
It has attracted the attention of general intangible cultural heritage, but it is rarely mentioned in the intangible cultural heritage of the Grand Canal.
The third is to strengthen research on the attributes of intangible cultural heritage canals or their symbols and representativeness, and organize more professional and academic forces to invest in them.
As far as the author knows, currently, the academic teams and academic forces engaged in intangible cultural heritage research in major universities and scientific research institutes are quite limited in investing in the research of the intangible cultural heritage of the Grand Canal.
The construction of the Grand Canal National Cultural Park requires mobilizing more academic resources to invest in it.
The fourth is to concentrate a certain amount of efforts to investigate, survey and integrate the "landmark" projects of the Grand Canal intangible cultural heritage, and increase efforts to carry out research, interpretation, exhibition, publicity, promotion and popularization of the "landmark" projects.
The fifth is to actively explore the interaction, interconnection, mutual interpretation, mutual certification and mutual mirror between the intangible cultural heritage of the Grand Canal and the material cultural heritage of the Grand Canal in exhibitions, displays, exhibitions and performances, so that the two complement each other and complement each other.
The sixth is to systematically sort out the distribution form and overall appearance of the 10 categories of intangible cultural heritage in 8 provinces and cities according to the iconic, representative and regional levels of the Grand Canal intangible cultural heritage.
In-depth disclosure of the cultural value, historical function, and spiritual connotation of the intangible cultural heritage of the Grand Canal.
According to the requirements of the "Opinions on Further Strengthening the Protection of Intangible Cultural Heritage" recently issued by the General Office of the Central Committee of the Communist Party of China and the General Office of the State Council: "We will comprehensively protect the intangible cultural heritage and the cultural and natural ecological environment that it can be nurtured and developed, highlight regional and ethnic characteristics, continue to promote the construction of cultural and ecological reserves, and implement the main responsibilities of relevant local governments.
Promote the effective connection between the construction of cultural and ecological reserves and the construction of national cultural parks, and improve the overall level of regional protection." It is recommended to establish a number of "Grand Canal Cultural Ecological Reserve"(beaded by strings, distributed across provinces and cities), using the river as the line and some areas with high collection and dense clusters of canals as beads of intangible cultural heritage, to establish a number of "Grand Canal National Cultural Park", using a string as a line and taking a number of areas with high concentration and dense clusters of canals as beads.
The seventh is to establish a recognition system for landmark projects of the Grand Canal intangible cultural heritage and representative projects of the Grand Canal intangible cultural heritage at the national level.
This recognition will be reviewed by an authoritative expert committee organized in a unified manner, and the recognition will be released and identified at relevant levels.
Logo authorization.
(This article is published in "Central Plains Culture Research", No.
2, 2022.
The annotations are omitted.
See the original issue for details)