[Wang Qin] Personality, inspiration and experience: A personal narrative study of the "family model" of the China Museum of Nationalities
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To: In the past ten years, under the dual influence of cultural heritage protection and ethnic tourism, ethnic museums established by families have gradually emerged in ethnic areas in China.
Different from the narratives of traditional ethnic museums, the "family model" of ethnic museums has gradually sprouted out "personal narratives" with multiple subjects.
These "personal narratives" not only go beyond the traditional "national narratives" and "ethnic narratives," but also intertwine and integrate with "national narratives" and "ethnic narratives."On the one hand, museum founders or exhibit makers present "personality" and "inspiration" by displaying personal experiences and artistic life, which in turn shapes the multiple values of cultural heritage and unique personal values, and creates in-depth interpersonal dialogue; On the other hand, multiple subjects present interactive "experiences" around cultural heritage and sort out the relationships and responsibilities of the museum founder and his relatives, community members, tourists, ethnic groups, and the country, thereby constructing the emotional value of cultural heritage.
and the public value of "participants".
The personal narrative of the "family model" of the China Museum for Nationalities is essentially a "myth" jointly created by multiple subjects in contemporary society: Give personal lives a sense of meaning and purpose, and create emotional connections, social connections, and even the integration of humans and nature in the sacred meaning of the culture of "continuity" and "sharing".
3.
Showing and transcending the individual: The meaningful production of "personal narrative" in the "family model" of the China Museum of Nationalities
Let us go back to the Xijiang area of Leishan County, Qiandongnan Prefecture, Guizhou Province, where "family museums" emerged early in ethnic areas in China, and analyze the three newly emerged family museums in Miao villages, so as to explore the "family model" of the Chinese Museum of Nationalities.
The meaningful production process of "personal narrative".
The Xijiang area is located in the northeast of Leishan County.
Xijiang Town, where the district office is located, is the largest Miao village in southeastern Guizhou.
The "Qianhu Miao Village" built on the mountain is known as the "Natural Ethnic Museum" and was listed as a national customs tourist spot on the eastern line of Guizhou in 1982.
In 1990, a professional village that relied on traditional skills to develop sideline industries appeared in the Xijiang area.
The embroidery of the "Embroidery Village" Xijiang Qianhu Miao Village and the silver ornaments controlled by the "silversmith Village" are loved, purchased and collected by foreigners.
In 2006, projects such as the Miao Drum Tibetan Festival, Miao Village Hanging Tower Construction Skills, Miao embroidery, Miao silver jewelry forging skills, and Miao Lusheng Making Skills were included in the national intangible cultural heritage list.
In 2007, in order to avoid the outflow of precious cultural relics and implement the national work policy of "protection first, rescue first, rational utilization, inheritance and development" of intangible cultural heritage, the local government began to prepare the "China Museum of Nationalities Xijiang Qianhu Miao Village Branch", encouraging farmers to establish "family museums" by carrying out "cultural heritage" rating subsidy work, in an effort to form "everyone participates in cultural heritage protection.
The good atmosphere of "every household is a cultural heritage management place" and the new model of cultural heritage protection in village museums with "centralized management and decentralized protection".
However, since the rating standard focuses on the cultural relics value of "cultural heritage", the "family museum" originally built by the villagers is modeled after the furnishings of traditional ethnic museums and has not yet broken through the otherness narrative of Miao culture.
In 2008, the third Guizhou Province Tourism Development Conference was held in Xijiang, which launched the leap-forward development of Xijiang tourism.
In 2009, the Xijiang Town Government commended 35 "family museums".
In recent years, some new family museums have emerged one after another, and personal narratives have been created in the new tourism context.
From 2017 to 2019, the author and members of the project team went to the Xijiang area three times to investigate the situation of ethnic tourism, heritage protection and the development of family museums.
The following takes the family museums of Chunhua, Ayou in "Embroidery Village" and Long Taiyang in "Kangbai Village" as examples to explore the personal narrative of the "family model" of the ethnic museum.
1.
Personality: Embedding of unique life experiences
Compared with traditional ethnic museums, the newly emerging "family model" of ethnic museums often shows individuality in terms of narrative: the founder not only names the museum after his own name, but also embeds his own life experiences into the museum narrative.
In terms of museum "naming", individuals in the ethnic group are no longer unknown "anonymous".
We can see eye-catching museum names on the main entrance or exterior walls of the plaques of the three family museums, which are "Chunhua Embroidery Museum","Ayou Museum" and "Dragon Taiyang Silver Ordnance Museum".
Among them,"Chunhua","Ayou" and "Dragon Taiyang" are the names of the museum founders, and "You" and "Sun" are derived from Miao names.
In other plaques or introductions in the museum, the three founders also named the museum "Miao Costume Embroidery Museum","A-You Ethnic Culture Museum" and "Dragon Sun Handicraft Experience Workshop" respectively.
It can be seen that they naturally connect themselves with ethnic groups and demonstrate their ethnic identity and cultural identity.
By recounting his own life experiences, the founders of the Family Museum not only created a life story full of individuality, but also used life stories to create a developing "self".
Psychologist McAdams (Dan P.
McAdams) noted that narrators build and internalize their own life stories to create a key "identity."The (identity) question provides the answer: Who am I? How did I become like this? Where will my life go? Although the founders of family museums have gradually developed multiple social roles in the course of their lives, and even integrated them into their own identity, in family museums, they often highlight specific personalized social roles in a timely manner through the selection, transformation, and retelling of life story materials, thereby presenting and identifying the personalized self.
During our visit to the Family Museum, Chunhua shaped her identity as a senior "collector" with unique personal taste by telling her experience from purchasing and selling "embroidery" to collecting and displaying "fine works":
"I am Shi Bingren, and my husband is from Taijiang.
We rarely quarrel because we have the same hobby, which is embroidery.
In the past, we saw that foreigners who came here liked to buy embroidery, so we wanted to go to a place where there were many foreigners.
In 2004, we purchased embroidery and sold it in Beijing, and more than a year later, we transferred it to Shanghai to sell it.
Later, there were fewer and fewer high-quality products, and we couldn't collect money.
At that time, my collection was placed in a cabinet, and no one knew I had so many.
Now that we had some money, we wanted to display the collection.
There are many tourists in the Xijiang Scenic Area, so we rented an entire building here to open a museum in 2017.
Due to the high level and large quantity of the collection, at the end of 2018, my museum passed the Provincial Cultural Relics Bureau.
Approval and certification, it became the only 'authentic' private museum in Xijiang."
A You also talked about her life experiences, but emphasized her preference, patience and persistence for handicrafts beyond ordinary people, and reiterated her unique vision of focusing on the inheritance of handicrafts and its long-term benefits, thus creating a "inheritor" identity of handicrafts different from other villagers:
"I watched my mother embroider when I was 8 years old.
I started learning embroidery when I was 14 and mastered more than a dozen embroidery methods.
My husband is from Yedongzhai in Xijiang River.
He went out to learn wood carving when I was 17.
I met him while working outside and liked his art, so I married him.
In 1998, we returned to Xijiang to do business and sold our own embroidery and purchased embroidery products.
At that time, we didn't know that they would add value or 'inheritance'.
We sold all the money we made and left many good things behind.
After the development of Xijiang Tourism in 2008, some people stopped working and started small businesses at home that made money quickly.
They needed to be calm and patient when doing crafts, but it was not easy to make money.
In 2014, I established the 'Embroidery Workshop'.
In 2015, Miao women in remote villages were organized to establish the 'Ayou Batik Textile Embroidery Professional Cooperative' to showcase their skills and create experience courses.
Under the recommendation of the 'Intangible Cultural Heritage' department of the county government, they applied for representative inheritors of 'Miao Embroidery' and participated in the handicraft competition.
I found that tourists were interested in 'experience', and in 2016, they vacated their own penthouse as a museum."
Long Taiyang wears a distinctive braid, portrays unique personal experiences during the tour of specific "works", demonstrates personal creativity, and constructs his own "artist" identity that is different from ordinary craftsmen:
"As soon as you come in, you can see this shoe.
I will remember the experience of going to Wenzhou to make leather shoes.
I was studying in Kangbai Village when I was seven or eight years old.
My parents made silver ornaments at home.
My brother and I helped pull bellows when we got home from school.
It's the same for our entire village.
I knew how to do everything when I was 15 or 16, but there was no business to do.
Many people went out to work.
We chose Wenzhou, Zhejiang, so my brother and I can make shoes now.
I can use silver to make shoes, but other silversmiths can't make them.
They can't even make the design or plate of the shoe.
Behind this shoe is my life experience."
In addition, all three family museums have spaces to introduce the general situation of the museum.
Among them, the "Museum Introduction" is embedded in the narration of the founder's unique personal experience; in the accompanying pictures, the founder usually stands out from the group of members, villagers or tourists; The walls or display cabinets are placed with important witnesses of life experience, such as award certificates, expo attendance certificates and other certificates, photos with industry association elites, authoritative scholars, college students, and foreign tourists, or newspapers, videos, etc.
that record interviews with people.
In this way, the founders of family museums seek and extract their own specificities-the taste, character, philosophy, and symbols of social prestige or status that distinguish individuals from others, so that they can be repeated and amplified in the museum narrative, thus presenting a unique characteristic that is different from the narrative of traditional ethnic museums.
Due to different personal experiences and self-positioning, the owners of the family museum have different focuses on the value evaluation and value presentation of cultural heritage.
As a result, the family museum also presents a unique style in terms of layout and exhibition.
In the eyes of "collector" Chunhua, the greatest value of the collection is its historical, educational and aesthetic value as a "cultural relic", so her museum focuses on displaying "fine works": The narrow ground and top floors of the Diaojiao Building are divided into "reception area, retail area" and "(handmade) experience area", while the spacious second and third floors are divided into "Miao costumes display area" and "Miao embroidery display area".
Each piece of fine works shines in glass cabinets or mounted frames, equipped with Chinese and English introduction boards, giving the museum an exquisite and professional style.
A You, the representative inheritor of "intangible cultural heritage", does not want to only display finished products, but wants to mainly display the process: The bottom floor of the penthouse has been transformed into a "farming area" and a "clothing area".
The collections are placed on the ground, display cases or hung on the walls in similar combinations, most of which are not protected and blocked by glass; the second and third floors have been transformed into a "museum introduction area","sales area" and a "craft display and experience area" that occupies the largest space.
Among them, the exhibition boards of craft processes, funny labels, tables and benches transformed from old tree roots, and living performances by members present a simple and vivid style."Artist" Long Taiyang disagreed with the stereotypes created by the display of old objects at the "Xijiang Miao Museum" and believed that "intangible cultural heritage" did not refer to objects fixed in the "past", but to the craft.
Therefore, he emphasized that after mastering traditional skills, continue traditional skills by creating more "works" with artistic value: In 2014, he expanded the first floor of his penthouse to set up an exhibition hall of "works" of Miao silver ornaments and a handmade experience area.
The museum he conceived is quite historical and personal originality: it not only displays his own works, but also displays all silversmiths in Gangbai Village.
The works of all silversmiths show the characteristics of each generation and each person's strengths, allowing the next generation to see more hope.
These unique museum styles also highlight the individuality of the family museum and its founders.
(2) Inspiration: The artistry of daily life
20th century,"primitive art"(or "indigenous art" and "exotic art ") began to serve as a source of" inspiration "in the creation of Western artists: modern art enjoys the status of" originality "and" recognized masterpiece ", while original art has become a second-class creative" prototype ".
Under unequal power relations, both Western artists and ethnographic museums used to satisfy the imagination of Western people usually only partially retain the visual representation of local art, ignoring its own creative source and its multi-sensory life.
Although some museums have begun to try to present the social-cultural context of indigenous art, they still usually cut off the connection between the art and the author.
This is essentially a "fetish" expression taken out of context.
In contrast, in the "family model" of China Museum of Nationalities, the producer of the exhibits is given the opportunity to directly express his thoughts and feelings about creation, making the "personal narrative" of the Museum of Nationalities full of "inspiration" characteristics.
This characteristic is concentrated in the "art" displayed in the family museum, and the "inspiration" of its creation comes from the creator's daily life.
The three newly emerged Miao family museums draw creative inspiration from daily life and use different art forms to construct the Miao living world in their respective hearts.
The Chunhua Embroidery Museum decorates the stairwell corridor with gorgeous "photographic works" sets, presenting the Miao people preparing for festivals, dressed up for shows, feasting, and wandering.
The Ayou Museum uses more than 30 "wooden board carvings" made by his family to decorate the "beauty".
It uses comic-like woodcuts to show the entire process of Miao people's farming and forest work.
It uses woodcuts to reproduce scenes to show Miao people's market, bird fighting, bullfighting, hunting, blowing Lusheng, killing New Year pigs, long-table banquets, and sending drunk guests with firecrackers.
The Dragon Taiyang Silver Ordnance Museum uses the "works" created by Long Taiyang as its main exhibits, so the "inspiration" characteristics of the museum's "personal narrative" are particularly prominent.
He poetically said "inspiration":
"All my works come from my life.
It gives me inspiration for creation.
I believe there will be more inspiration in the future.
I will not chase it too much, it will emerge naturally.
Art comes from life, and I will use life to do it well."
Long Taiyang talked about creative inspiration in a "storytelling" way while guiding the silverware works.
The story of the "checkered bracelet" shows the wonderful ideas and designs that burst out of the trivial family life; the young man guarding the ghost accidentally killed the "butterfly" that guides the dead.
The story of the "butterfly" shows the details of the disappearance of traditional Miao culture and the producer's reverence and worry for nature and culture; The story of "Cicada" not only witnesses the growth of her daughter, but also reproduces the process of "China Miao silversmith" Long Taiyang broke foreign tourists 'prejudice against China products and won praise from foreign magazines with his original handmade works.
Thus, through the exposition of the exhibits and their "inspirations" in the family museum, the creator conveyed his understanding, imagination and thinking about life, and also presented the individual and the natural environment, and family members, community members, ethnic groups, countries and even foreigners.
A living world where people meet and connect.
Looking back at the exhibitions in the three family museums, the author found that there are roughly three methods to artitize daily life: (1) arrange, modify or explain daily objects in a personalized way;(2) make new objects by retrieving, refining, and aggregating., reproducing the objects or scenes that the producer encounters in daily life;(3) use a story-based method that mobilizes multiple senses to present the creator's daily life situation.
No matter which method is used, the core of the artistry of daily life is to incorporate personal meaning and emotions.
This object demonstrates its unique vitality and becomes a "work of art" different from daily life objects.
Through the artistry of daily life, these family museums not only create "works of art" and their artistic value, but also construct the creator's spiritual world, personal image and identity through "works of art".Art is not only a representation of the creator's daily life and a transformation of "inspiration", but also an extension of human beings and a "social agent"（social agents）。As visitors to these family museums, in front of the explanations of the artworks and their creators, we cannot help but immerse ourselves in the living situation of the artworks full of pictures and even multiple feelings, trying to understand the creators 'respective thoughts and thoughts, thereby piecing together their personal image and identity, reimagine the ethnic group and culture to which they belong, and re-recognize the significance of open and in-depth personal expression to social unity, cultural exchanges, and global dialogue.
(3) Experience: Emotional investment and connection in interaction
With the increasing prosperity of "experience" consumption and the industrialization of "cultural heritage", today's museums are no longer just displaying collections, but are trying to create dynamic, multi-sensory and culturally diverse museum experiences to attract more visitors, thereby winning financial support and market benefits in the increasingly fierce competition.
However, the experience of "understanding" and "others" created by museums often relies heavily on display techniques or techniques rather than cross-cultural social interactions.
It is worth noting that "experience", as an important part of the "personal narrative" of family museums in ethnic areas in China, does not only refer to tourists 'visiting experience or handmade experience in the museum, but points to all "participants" around "cultural heritage".
The process of creating, inheriting and sharing cultural heritage value.
Therefore, in this specific narrative venue, the main body of "personal narratives" is actually not limited to the founder of the museum or the producer of the exhibits, but may also be interactive and diverse individuals.
These "personal narratives" may be presented in oral narratives, face-to-face conversations, interactive projects, etc., and may also be presented in the form of collection exhibitions, text introductions, photo displays, documentary broadcasts, etc.
On the one hand, the "personal narrative" of multiple subjects expresses their emotions devoted to "cultural heritage" by presenting the interactive experience of individuals and "cultural heritage", thereby demonstrating the emotional value of "cultural heritage" and creating a mixed state of oneself and "cultural heritage".
Among the three family museums, almost all the museum founders, their family members, and community members who participated in them have told tourists on the spot about their feelings about collecting, displaying or making the collections.
In the introduction area of Chunhua Museum, three Miao scholars as consultants expressed their long-term academic experience in Miao culture research in words that restrain emotions.
In the batik experience area of the Ayou Museum, an art school student told me that she discovered the Miao embroidery skills that fascinated her during travel, and then decided to stay in Miao Village to learn.
On the wall of the Longsun Museum, the reporter used warm words in the report to call the inheritance of silver jewelry forging skills "a silver dream and career."
In these "personal narratives", individuals convey the time, energy, thinking and emotions they devote themselves to "cultural heritage", and these life experiences gradually cultivate the relationship between themselves and "cultural heritage", cultivate individuals 'cultural identity and identity, and inspire individuals' sense of social responsibility and mission to inheriting and disseminating "cultural heritage."
On the other hand, the "personal narrative" of multiple subjects conveys the emotional connection between the "participants" and their accompanying social actions by presenting the interactive experiences of multiple "participants" around "cultural heritage", thereby demonstrating the emotional and social value of "cultural heritage" and creating a state of harmony among the "participants".
The "participants" contained in these "personal narratives" involve museum founders and their relatives, community members, tourists or government agencies.
For example, Chunhua tells us:
"I owe a lot of money to display these fine works, but I really want to do them well.
Relatives and friends in my hometown all agree with me building a museum and are willing to lend me money.
People in the village say we are very nice and generous.
I don't have money, but I have to be generous.
We started counting the number of visitors last year.
Many tourists also support us and bring out ID cards to register.
Everyone comes here for free, and the Cultural Relics Bureau will definitely help us.
My fine works have become 'cultural relics' and are managed by the Cultural Relics Bureau, so I will no longer be free.
If I become free and sell them, I will not see them in the future.
In fact, I would be willing to be free if I am not free, and no one can take them away.
Now, the government has helped our museum apply for provincial certification, and will later subsidize me based on the number of visitors.
I can pass on these collections and let more people see them."
Yang Changmei, a sister in Rongjiang, hired by A You, chatted with us while guiding us in drawing wax paintings.
She told us:
"The boss (Ah You) introduced me to do with her, teach them to paint and dye.
Food and accommodation are included here.
As the boss, I have to be responsible for buying ingredients and also have to worry about it.
Now I can paint with peace of mind.
I sit here during the day to work, and I can sell what I draw myself.
I can't paint it quickly.
If there are many customers who come to paint wax paintings, the boss will give me a raise in salary.
I don't usually have holidays because customers may come at any time, so I feel tired after sitting for a long time.
Our boss is also very good.
A few days ago, it was the Miao Year.
The boss said he had a holiday, so he took us to play and watch them dance (Lusheng)."
In the silverware experience class, Long Taiyang first introduced the story of the "work" to stimulate tourists 'interest and guide them to enter his life world with emotion; then, he inspired tourists to make their own works with his own production experience.
He said:
"In the future, when you look at your work again, you will remember that it was made for the people I love.
It incorporates our emotions and stories.
You will also remember that it was made by Miao handicrafts at Longtaiyang Family in Miao Village, Guizhou.
You will also introduce your relatives and friends, so many people come to me.
Through 'experience', they can pay attention to and spread Miao culture."
In these "personal narratives", the interactive experience of "participants" around "cultural heritage" cultivates the emotions of "participants", creates emotional connections and social connections between "participants", and clarifies "participants".
The respective social responsibilities of "participants".
Among them, the founders of these museums should fulfill their responsibilities of protecting and inheriting "cultural heritage", and the government has the responsibility to support them; museum founders need the support of community members and also need to give back to community members; Museum founders have the obligation to share "cultural heritage" with tourists through display, interpretation, etc., and tourists can help them spread "cultural heritage".
Therefore, the "personal narrative" of family museums actually not only reconstructs "cultural heritage" The value, but also shapes the potential, social value and public identity of each "participant".
4 Discussion and Conclusion
"Heritage" is an important entry point for us to explore contemporary museum narratives.
Its meaning generation mechanism is contained in the presentation process of "heritage sites" and "heritage".
In the past two decades, academic circles have launched an enlightening discussion on the meaning generation mechanism of museum "heritage".
Koshblatt-Jimbüt (Barbara Kirshenblatt-Gimblett) pointed out that "heritage" may seem ancient, but it is actually a contemporary cultural production model that resorts to the past: driven by political economy, tourism destination museums use antiquity, coding, exclusion, and virtualization to enable "objects","folk customs","lifestyle", etc.
to gain ethnographic, ancient and exotic value or significance.
Smith Although Laurajane Smith follows the perspective of representation, she does not define "heritage" as a material or intangible cultural expression.
Instead, she believes that "heritage" is a personal and social behavior that achieves meaning creation through the process of memory.
She also challenges the "materialistic" concept of "heritage", emphasizes the "intangible nature" of all "heritage", and even understands "heritage" as a series of "discourse" practices: On the one hand, heritage management agencies use "authoritative heritage discourse" to define and legalize the identities and values of specific social actors; on the other hand, indigenous people or community residents consciously use "heritage discourse" to give "heritage sites" or "Cultural relics" social significance, negotiate, create and recreate identity.
This critical theory of "heritage discourse" reveals the potential power operation and "exclusivity" in the practice of "heritage", but it too simply regards "heritage sites" or "cultural relics" as "tools" in the process of "heritage" practice.
Unlike Harrison, From an indigenous ontological perspective, Rodney Harrison noticed the "agency" of "things" in museums.
He believed that "things" themselves had potential weight, not only the physical volume and weight, but also the political and emotional weight that reminded us of relevant history, culture, and ethics.
Therefore, things and people also participated in the production process of "heritage" as "actors":"Heritage" comes from the relationship between people, things and their environment, and appears in the "dialogue" or practice between people and things.
This symmetrical "relational ontology" makes up for the shortcomings of the "heritage discourse" theory, but it has not yet fully explained the source of the emotions of actors in the process of generating "heritage".
Through the "personal narrative" of the "family model" of the China Museum of Nationalities, we will find that "heritage" is generated by the "myth" jointly created by contemporary multiple subjects: in the sacred meaning and belief of the "continuation" and "sharing" culture, multiple subjects nourish emotions and position themselves in in-depth dialogue, and create emotional connections and transcend themselves in interactive experiences.
Anthropologist Salins Marshall Sahlins once pointed out that when culture becomes a widely discussed topic in modern society, people are prone to panic about the disappearance of culture, and the cause of protecting culture becomes a great spiritual pursuit.
Although this pessimism is exaggerated in the binary opposition thinking between "tradition" and "modern", multiple subjects may have found new "beliefs" or "truths" and actively created their own meaning in life.
McAdams called the "life stories" created by people in modern society a "personal myth."These myths are similar to the "myths" in religious societies.
They are all sacred stories in which people discover truth, illuminate the value of life, and shape identity through creating meaning.
We might as well say that the "personal narrative" of the "family model" of the China Museum of Nationalities is a "personal myth" woven by multiple subjects around "cultural heritage": Inspired by the government-led discourse of "protection" and "rescue" of cultural heritage, the diverse subjects of family museums in ethnic areas have gradually developed a sense of social responsibility to protect culture, and sublimated the culture of "inheritance" and "communication" into a lofty life mission in interactive narratives, making the "personal narrative" full of the sacred sense of "continuing" and "sharing" culture.
Therefore, the "personal narrative" of the "family model" of China Museum of Nationalities revolves around "cultural heritage".
The meaning production mechanism is: under the joint influence of politics, economy and sacred beliefs, the founder or work producer of the family museum fulfills his psychological responsibility to himself by presenting "personality" and "inspiration", evaluating and shaping the multiple values of "cultural heritage" and the unique values of individuals; At the same time, the diverse subjects of the family museum present interactive "experiences", sort out the social responsibilities of "participants", and create the emotional value of "cultural heritage" and individual public identity and universal values.
What cannot be ignored is that we cannot simply conclude that the nature of these myths is the germination of "individualism" or the extension of "nationalism" of ethnic groups and nation-states.
In fact, these myths are rooted in the individual's living world and naturally grow in the connection between individuals and the environment, and in the connection between individuals and families, communities, ethnic groups, countries and even humans.
They attempt to create in-depth dialogue and emotional connections between people through sharing "cultural heritage."Giddens (Anthony Giddens) has already talked about the value of maintaining "tradition" in a "post-traditional society", while open interpersonal dialogue is a condition for social unity, and "emotional democracy" in private life may extend to "dialogue democracy" in the global order.
We further believe that the personal narrative of the "family model" of the China Museum of Nationalities not only plays a role in cultivating the consciousness of the Chinese nation's community, communicating human souls, and building a community with a shared future for mankind to a certain extent, but is also promoting "cultural heritage," human society and the interaction and integration of the natural environment.
(The original text is published in the Journal of Guangxi University for Nationalities (Philosophy and Social Sciences Edition), No.
4,2022.
The annotations are omitted.
See the original issue for details)