[Xiang Yunju] On "Cultural Space"

Abstract: "Cultural space" is expressed and recognized as an important or main form of intangible cultural heritage.

This gives "cultural space" a taxonomic significance at the same time.

First of all, the meaning and nature of "cultural space" are identical to the definition of "intangible cultural heritage".

Secondly,"cultural space" is an important type of intangible cultural heritage.

The core value and theoretical basis for its existence lies in that it presents intangible cultural heritage completely, comprehensively, truly, ecologically and in a living place.

Keywords: cultural space intangible cultural heritage

"Cultural Space" or "Cultural Place") is a proper term used by UNESCO when protecting intangible cultural heritage.

It is used to refer to the form and style of representative works of human oral and intangible heritage.

Among the three batches of 90 representative works of world intangible cultural heritage that have been published, 10 projects have been titled "cultural spaces." They are: Cultural Space in Bossa Region, Uzbekistan, published in 2001), Shemeski Cultural Space and Oral Culture in Russia, published in 2001), Vera? Melacangos's Cultural Space of the Holy Spirit, Brotherhood, Dominican Republic, announced in 2001), Gama Square's Cultural Space of Morocco, announced in 2001), Niagasola's "Soso? Bala "Cultural Space Guinea, published in 2001); Kinu Cultural Space Estonia, published in 2003), St.

Cultural Space of Basirio Palace, Colombia, announced in 2005), Cultural Space of Patra and Wadiram Nomads, Jordan, announced in 2005), Degan Lai Ya 'ala Cultural Space, Mali, announced in 2005), Tongluo Cultural Space, Vietnam, announced in 2005).

It can be seen that in intangible cultural heritage, cultural space is a very important concept and a form and form that cannot be ignored.

The appearance of the term "cultural space" was first expressed in UNESCO's "Regulations on the Declaration of Representative Works of the Oral and Intangible Heritage of Humanity".

This regulation was formulated by UNESCO to implement the "Recommendation on the Protection of Folk Creation" adopted in 1989 and implement the selection and publication of representative works of the oral and intangible heritage of mankind.

In the regulations,"cultural space" is designated as an important form of intangible cultural heritage.

The purpose of the regulation begins with a clear meaning: "The purpose of the announcement is to reward outstanding representative works of oral and intangible heritage.

This cultural site or folk and traditional expression of oral and intangible heritage) will be declared a masterpiece of the oral and intangible heritage of mankind." The original meaning of a cultural space or cultural place refers to a physical space, place, or place with cultural significance or nature.

In the protection of cultural heritage and material heritage, it is also a very clear concept, which refers to cultural sites, cultural communities, palaces, churches, temples and other cultural buildings.

Intangible cultural heritage protection makes special use of it as a cultural form, giving this term a special cultural designation.

The regulations then further define the meaning of "cultural space":"Within the scope of this declaration,'cultural place' specifically points out that the concept of" cultural space "refers to the concept of" cultural space "." Anthropological "concept.

What is the concept of anthropology? First of all, the concept of anthropology is a concept different from cultural relics and cultural heritage.

As mentioned above, the cultural space of material cultural heritage is a "materialist" space.

It must have real, artificial, materialized, tangible and tangible entities, and thus constitute a specific form of time and space.

For example, the Forbidden City and the Great Wall in China, the Schunn Palace in Austria, the Angkor Grottoes in Cambodia, etc.

These cultural heritages constitute corresponding cultural spaces inside, around and around, occupying a certain area, creating unique visual or tactile effects.

The cultural space of anthropology is clearly different.

Secondly, the concept of anthropology starts from the discipline of anthropology.

Although anthropology is different from physical anthropology and cultural anthropology, its common feature is that it focuses on objects such as humans, races, nations, groups, and communities.

It is a discipline that sees things and sees people more.

It is a discipline that takes people as the main body and people as the carrier, that is,"people-oriented".

The difference between the anthropological concept of "cultural space" and the traditional concept of "cultural space" is similar to the difference between intangible cultural heritage and material cultural heritage.

Therefore, the "cultural space" of anthropology must include some completely different content.

For example, it has certain materialized forms, locations, buildings, places, objects, utensils, etc.), as well as periodic human behaviors, gatherings, and demonstrations.

Moreover, this seasonal, cyclical, seasonal, and temporal cultural performance and repetition are a unique cultural space or cultural form.

That is to say, the anthropological "cultural space" is first a physical space or natural space of culture.

It is a physical "field" with a cultural place, cultural location, and cultural material state; secondly, in this "field" there is human cultural construction or cultural identification, which is a cultural field; moreover, in this natural field and cultural field, there are human behaviors, concepts of time, year-time traditions, or the "presence" of human beings themselves.

In a sense, it can also be said that the cultural space where people are present is the cultural space in the anthropological sense and the cultural space of intangible cultural heritage; on the contrary, if things are different and the Yellow Crane Tower is empty here, then it can only be material heritage or cultural heritage in the narrow sense), it is cultural relics, monuments, and ruins.

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In UNESCO's intangible cultural heritage protection activities,"cultural space" is expressed and identified as an important or main form of intangible cultural heritage.

This gives "cultural space" a taxonomic significance at the same time.

That is to say,"cultural space" is a type of intangible cultural heritage, and this type has a decisive position.

We can understand this in three ways.

First, the meaning and nature of "cultural space" are identical with the definition of "intangible cultural heritage".

The complete formulation of the concept of "intangible cultural heritage" comes from the Proposal for the Protection of Folk Creation, which was subsequently directly quoted in the Regulations on the Declaration of Representative Works of Oral and Intangible Cultural Heritage of Humanity, and is expressed as follows: "According to the Recommendation for the Protection of Folklore, the term 'oral and intangible cultural heritage' is defined as the totality of creations originating from a cultural community, which are traditionally based, expressed by a group or individuals and considered to be in line with the expectations of the community as forms of expression of its cultural and social identity; whose norms and values are transmitted orally, through imitation or otherwise, and which take the form of: Languages, literature, music, dance, games, mythology, manners, customs, handicrafts, architecture, and other arts." In this definition, keywords such as "all creations of a certain cultural community","based on tradition","expressed by a certain group or some individuals", and "consistent with community expectations and social characteristics" are all "cultural space".

The important connotation of "cultural space".

That is to say, on the one hand, the so-called folk or traditional music, literature, dance, games, myth and other intangible cultural heritage is a kind of group, social, and regional culture and art, which is different from writers 'literature, artists' dance, and musicians 'composition); Second, these folk literature, music, dance, mythology, games, etiquette, etc.

may and most of them will be presented and passed down in communities and groups in the form of cultural clusters and cultural integration, such as various carnivals, festival gatherings, temple fairs, social fires, etc., will be presented in a concentrated manner; Third, the various styles of group folk creation are not independent or differentiated in the demonstration.

They are chaotic and integrated.

For example, Nuo rituals, Nuo ceremonies, Nuo dances, and Nuo operas are often difficult to separate.

Some myths include poems, songs, music, dances, and sacrifices.

There are poems and literature in folk songs), music and even rituals.

Second,"cultural space" is an important type of intangible cultural heritage.

In the declaration and publication of UNESCO's representative works of oral and intangible cultural heritage of mankind, UNESCO's official statements have solemnly used the taxonomic nature of cultural spaces.

For example, the "cultural expressions or cultural spaces" quoted in the preceding paragraph are used side by side; in addition, in the "UNESCO Guidelines for the Compilation of Declarations of Representative Applications for Oral and Intangible Cultural Heritage of Humanity" as a working document, the "Types of Oral and Material Heritage" section clearly states: "Declarations of Representative Oral and Intangible Heritage of Humanity are aimed at two manifestations of intangible cultural heritage.

Specifically, one is manifested in rules-based forms of cultural expression, such as music or drama performances, traditional customs or various festival rituals; the other is manifested in a cultural space, which can be identified as a concentrated area of folk and traditional cultural activities, but can also be identified as a specific time with periodicity or event-nature; this space with time and entity exists because it is a traditional place for expression of cultural phenomena." This description not only equates cultural space with various cultural expressions, but also points out that cultural space can be dominated by both "region" and "time", but both must have cultural phenomena that meet the standards.

Correspondingly, in the list of representative works published by UNESCO, there is also a special category of "cultural spaces" in its ranking and classification form.

Third, in the "Definition" of Article 2 of the Convention for the Protection of Intangible Cultural Heritage officially adopted by the 32nd Conference of UNESCO on October 17, 2003, the final recognition of intangible cultural heritage also refers to "cultural space" as follows: "'Intangible cultural heritage 'refers to the various practices, performances, forms of expression, knowledge and skills that are regarded as their cultural heritage by groups, groups and sometimes individuals, as well as their related tools, objects, crafts and cultural venues, i.e."Cultural Space", the author's note)." This convention can be said to be the authoritative international convention for the worldwide protection of intangible cultural heritage, and its definition can be regarded as the final definition.

"Cultural Space" still occupies a very eye-catching and prominent position here.

Therefore, we should attach great importance to it.

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In the work carried out by UNESCO on the world list or representative works of cultural heritage, natural heritage, dual heritage of culture and nature, and intangible cultural heritage of mankind, there are many cases that are closely related or even intersect with "cultural space".

There are two situations that deserve special attention.

First, the relationship between cultural space and cultural landscape heritage.

The concept of cultural landscape heritage was proposed at the 16th session of the UNESCO World Heritage Committee held in Santa Fe, USA in December 1992 and included in the World Heritage List.

This heritage represents the "joint work of nature and mankind" as expressed in Article 1 of the Convention for the Protection of the World Cultural and Natural Heritage.

The selection of cultural landscapes should be based on their own prominent and universal values, the representativeness of their clearly delineated geographical and cultural areas and their ability to reflect the basic and unique cultural factors of such areas.

It often embodies modern techniques for lasting land use and maintaining or enhancing the natural value of the landscape, and protecting cultural landscapes helps protect biodiversity.

Generally speaking, there are the following types of cultural landscapes:

Landscape deliberately designed and built by humans.

These include gardens and park landscapes built for aesthetic reasons, which are often but not always) associated with religious or other monumental buildings or buildings.

Organically evolved landscapes.

It originated from an initial social, economic, administrative and religious need and developed into its current form through connection or adaptation to the surrounding natural environment.

It also includes two subcategories: one is relics or fossil landscapes, which represent an evolutionary process that has ended some time in the past, whether sudden or gradual.

The second is the sustainable landscape, which maintains a positive social role in today's society associated with traditional lifestyles, and its own evolution process is still in progress, while at the same time demonstrating the physical evidence of its evolution and development in history.

Related landscape.

characterized by a strong association with natural factors, religion, art or culture, rather than by cultural physical evidence.

Although cultural landscape heritage particularly emphasizes its natural factors, emphasizes the connection between culture and nature, and emphasizes that it can not be characterized by cultural physical evidence, because it transcends natural heritage and pure natural forms on the basis of natural landscape, it is attached to cultural connotations and forms.

In some aspects, it is quite consistent with the concept of "cultural space" form of intangible cultural heritage.

For example, the first cultural landscape site on the World Heritage List is Tongariro National Park in New Zealand.

This is a volcanic park with 15 craters, three of which are active.

The park covers an area of 400,000 hectares and has always attracted tourists from all over the world with its volcanic wonders.

It was listed as a World Cultural Heritage Site in 1990.

Why is it included in the World Cultural Heritage first? It turns out that this volcanic park was originally owned by the Maori tribe, a local indigenous ethnic group, and was regarded as a sacred place by the Maori.

Maori legend says that Ngatuluilangi, the leader of the "Arava" canoe, once led the Maori people to move here.

While climbing the summit, he encountered a storm and his life was in danger.

He asked God for help, and God sent rolling hot currents to the top of the mountain to revive him., the place where the hot currents passed became hot springs).

The name of this storm is Tongariro.

In 1887, the Maori dedicated three volcanoes and surrounding areas to the country as national parks in order to maintain the sanctity and integrity of the mountains so as to avoid division and sale by Europeans.

In 1894, it was named Tongariro National Park by the New Zealand government.

In 1990, it was selected as a World Cultural Heritage Site as a Maori sacred place and its impact on Maori life.

But in fact, its own natural factors are very prominent, even closer to natural heritage, or first of all, it is a unique natural landscape, which is attached to intangible cultural beliefs and becomes a holy place.

Therefore, in 1993, people re-examined this heritage site from the perspective of the newly identified "cultural landscape heritage" and discovered its natural value, landscape value and outstanding examples of the interrelationship between man and the natural environment.

As a result, Tongariro Park added another name to the original World Cultural Heritage title: World Landscape Cultural Heritage, and became the world's number one such heritage.

The only existing world cultural landscape heritage in my country is Lushan Scenic Area.

The World Heritage Committee commented on Lushan Mountain: "Lushan Mountain in Jiangxi Province is one of the birthplaces of Chinese civilization.

The Buddhist and Taoist temple views here, the Bailudong Academy, which represents the concept of Neo-Confucianism, are integrated into the natural beauty of outstanding value in their unique way, forming a cultural landscape with extremely high aesthetic value that is closely related to the spirit and cultural life of the Chinese nation." As a cultural landscape heritage, Lushan Mountain is different from Tongariro National Park, but the natural landscape and natural beauty are the primary conditions, followed by cultural factors.

It can be seen that the difference between cultural landscapes and cultural spaces is clear at a glance.

Cultural landscape is the combination of culture and natural landscape.

The natural environment must reach the form, value and level of the landscape.

Culture can be material, materialized, or intangible.

However, cultural space is different.

Its geographical environment or place has no landscape requirements or reality requirements, and does not even have to be fixed in one place.

The culture therein requires vitality, ecology, life, timeliness, etc.

Second, the double superposition or dual heritage relationship between intangible cultural heritage and other heritage.

Among world heritage sites, dual heritage has two forms.

The first type is the dual heritage of nature and culture, which refers to a place or a heritage that contains both cultural and natural values.

This is a world heritage that combines commemorative cultural relics, buildings, relics, etc.

with world significance in terms of history, art or science, aesthetics, ethnology, and anthropology, with natural heritage with terrains or organisms of world value, including landscapes, and other contents that are particularly valuable in terms of aesthetics, science, and preservation, into a heritage form that has both cultural and natural contents and "integrates the two aspects of nature and nature".

Thus becoming a dual heritage of world culture and nature.

my country's Mount Tai, Huangshan, Wuyi Mountain, Emei Mountain and Leshan Giant Buddha are both cultural and natural heritage and have dual value.

Kakadu National Park and Tasmania National Park Group in Australia, Dogon settlement on the Cliff of Bongjara in Africa, Mali), Machu Picchu's historic site in the Americas, Peru), Pyrenees-Perdu Mountain in Europe), Mount Assos (France), Ibiza Island (Spain), Lapp settlement in Sweden), etc.

are all famous cultural and natural heritage.

The second is the overlap between intangible cultural heritage and other world heritage.

This overlap is not like the dual heritage of culture and nature that has overlapped into an independent heritage category or form.

The overlap between intangible cultural heritage and other types of world heritage is that two independent world heritage sites appear together in one location or region, including the same ethnic group, group, and community.

This situation has occurred since 2001, when the first batch of oral and non-heritage masterpieces of mankind were published.

At that time, among the first batch of 19 representative works, there was the superposition of intangible cultural heritage and other world heritage sites.

For example, the Hadhad hymns of the Ifugao people in the Philippines 'first representative works of oral and intangible heritage recited.

It was these indigenous Ifugao people who also created rice terraces in the Andes, which are known as the "Stairway to Paradise" and were included in the World Cultural Landscape Heritage in 1992.

The hymns of the Ifugao people were sung during their sowing, harvesting, funeral, and sacrifice.

It has 40 chapters and takes four days to be sung.

It comes in the form of lead singing, chorus, etc., and is passed down from mouth to mouth without written records.

Obviously, as a representative work of intangible cultural heritage, hymns have greatly expanded the connotation of the terraced cultural landscape of the Ifugao people and greatly deepened people's understanding of this cultural landscape.

The two heritages can fully prove, complement and interact with each other.

For another example, Morocco's masterpiece of intangible cultural heritage,"Degama Al Fana Square Cultural Space", refers to the central square of Marrakesh.

This cultural space is bustling all day long.

People trade here at the market and also entertain here.

There are all storytellers, acrobatics, fire-swallowing, snake playing, fortune tellers, medical treatment, and medicine sellers.

Since the square was built in 1071, this "cultural space" was formed.

It has been lively until today, my country's past Beijing Tianqiao culture is very similar to this.) This famous Arab ancient city and its buildings, houses, temples, etc.

have previously been included in the world's intangible cultural heritage, which undoubtedly makes the original cultural heritage more shining.

Add the two heritages together, the city has both form and spirit, and is suitable for movement and movement.

It becomes vivid and vivid, giving the heritage life and vitality.

In addition, the ancient city of Sana'a in Yemen, which is a world cultural heritage, the "Sana'a Song" as a masterpiece of intangible cultural heritage, Spain's Elche Paral and the Elche mysterious drama as an intangible cultural heritage, are also A matching "double" or dual heritage.

By analogy, among all types of world heritage sites, there are some potential cultural resources that can be derived or applied for dual heritage.

For example, Xidi Hongcun in China can also apply for the intangible cultural heritage of the "cultural space".

The Naxi Dongba ancient books in the world memory heritage can be applied for the Naxi Dongba culture and Naxi ancient music, etc.).

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From the 10 "cultural space" forms that have been included in the representative works of human oral and intangible heritage, we can analyze some basic characteristics of "cultural space".

The San Basirio Palenque Cultural Space in Colombia is named after the village of the same name.

The village of San Basirio Palenque has become a "cultural space" for the masterpiece, with 3500 residents.

This "cultural space" comes from the history of African slaves and was established by fugitive slaves."Palenque" means a fortified village.) Palenque slave cultural and historical village is currently the only surviving village in the world.

So, this makes it a unique cultural space, in which there are unique social structures, language, music, religion, medical practices, complex funeral rituals, etc.

Among them, experts believe that the Palenque language is the core of the cultural space.

It is the only Creole language in the entire Americas that combines Spanish phrases and African Bantu language.

It can be said that all cultures in this ancient village were incorporated into the "cultural space" and presented and protected as a whole.

Ancient villages and slave history and culture constitute the most important spatio-temporal structure and cultural relationship in this cultural space.

The Kinu Cultural Space is a masterpiece of Estonia and is located on small islands such as Kinu and Manica in the Baltic Sea.

The residents of these islands are called Kinu, and there are about 600 people in total.

Kinu men go out to fish and catch seals, and women farm and do housework on the island.

Women are the main inheritors of Kinu culture.

The most prominent feature of the unique culture of the Keanu Cultural Space is the wool handicrafts worn by women.

The costumes and accessories woven by the women themselves are colorful and carry vivid and long-standing legends.

When making these crafts, women often sing folk songs together.

Keanu culture also has rich oral literature, music, dance, wedding celebrations, religious festivals, etc.

The characteristics of Kinu culture are also reflected in the coexistence of culture and nature.

The two small islands have unique scenery, grasslands, pine forests, beaches, and sandy beaches, with picturesque scenery.

The isolated island environment makes this cultural space a "cultural island".

The 10 representative works of cultural spaces actually have some commonalities, namely: they are a unique geographical area, either squares, villages, islands, or pastures; they have a unique natural environment and designated geographical spaces and scope; All cultures in this geographical space are included in the representative works, but sometimes it may be typical of one of the most important and eye-catching cultures; there are often independent ethnic groups, communities, and unique languages and histories; etc.

In short, in terms of its natural attributes, a cultural space must be a unique cultural field, that is, it has a certain physical, geographical space or place.

This place sometimes has the landscape value of cultural landscape heritage, sometimes it is just an ordinary place, sometimes it is a sacred place, sometimes it is even an unstable place, such as the nomadic people's unsettled place), but there is a combination of fixed time and random places.

From the perspective of its cultural attributes, cultural spaces are often comprehensive, diverse, chronological, cyclical, seasonal, sacred, ethnic, entertaining, etc.

The manifestations of the natural attributes of cultural space are: cultural squares, square culture, religious sites, ancient villages, islands, market town centers,"big houses", temples, churches, sacred mountains, sacred mountains, lakes, etc.; the cultural attributes of cultural space are manifested in: Annual folk festivals, sacred commemorative days of religious gatherings, periodic folk markets, seasonal places for love exchanges, recreational singing and dancing festivals, grand sacrificial rituals and their venues, languages, various unique cultures of ethnic groups, unique historical traditions, etc.

A cultural space that combines natural attributes and cultural attributes becomes a living ecological cultural heritage, and is the most concentrated, typical and vivid form and form of intangible cultural heritage.

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As an important form and important protection object of intangible cultural heritage,"Cultural Space" is an important form of representative works of intangible cultural heritage.

Its core value and theoretical basis are that it presents intangible cultural heritage in a complete, comprehensive, authentic, ecological and living place.

Intangible cultural heritage can be classified into oral heritage, folk literature, myth, etiquette, music, dance, drama, belief, festivals, handicrafts, residential architecture, folk technology, medical knowledge, universe knowledge, navigation knowledge, smelting knowledge and technology, ceramics, farming and animal husbandry knowledge, textiles, food processing...

etc., almost everything related to traditional culture.

However, compared with highly developed modern culture, the most prominent characteristics of intangible cultural heritage are its chaos, relevance, intersection, comprehensiveness and integrity.

Its creative subject is often a common ethnic group or community, which is jointly created by the group and shared by the ethnic group.

In such a "cultural space", culture and art are inseparable, and so are this art and that art.

Culture and ethnic groups share the same destiny.

Culture and life are dependent on each other and each other...

Therefore, we should not separate, cut, isolate, break, or one-sidedly understand the cultural space of intangible cultural heritage.

On the contrary, the outstanding value of intangible cultural heritage lies in its chaos and relevance.

A folk song, it has the language of poetry, the singing and beautiful melody of songs, the rhythm of dance, emotional exchanges, etiquette and etiquette similar to what Confucius said, you can't speak without learning poetry), and the cooperation of craftsmanship, etc.

This is very different from the value of the poet's poems.

If we only look at the language and literary value of one of these poems, the multi-functional, multi-form, and multi-related cultural significance of this intangible cultural heritage will be greatly reduced, and the loss will be great! This comprehensive, relevant and collective feature is the greatest and most prominent feature of intangible cultural heritage, so it can be compared with any kind of human cultural heritage or human literature and art.

It is also the most critical theoretical cornerstone and basis for UNESCO to establish human oral and intangible heritage representative works system.

The specific form of "cultural space" actually shows diversified forms.

Some cultural spaces have region and ethnic groups as the core and are unique cultures created and used by unique groups in a unique region; there are also some cultural spaces with ethnic groups and time as the core and are unique expressions of a unique group at a unique time.

culture.

The "cultural space" represented by the combination of ethnic groups and time is the cultural space that "but can also be determined as a specific time with periodicity or event-nature" in the above-mentioned UNESCO definition of "cultural space", that is, the so-called cultural space that only focuses on time.), is a "space with time."

Cultural spaces dominated by time usually reflect a certain ethnic group's view of history and time, have profound cultural connotations, and often pay special attention to major historical events or cultural traditions, pay attention to this ethnic group's ancient astronomical calendar, meteorological traditions, and pay attention to the ethnic group's rhythm of life, festivals, customs, celebrations, etc.

Periodicity, repetition, circularity and ritual are important characteristics of temporal cultural space.

Major festivals of China, such as the Spring Festival, Lantern Festival, Qingming Festival, Dragon Boat Festival, Mid-Autumn Festival, Double Ninth Festival, etc., actually embody the China's view of astronomy, age, life, aesthetics, history, culture, folk customs, etc., with very profound connotations and rich forms.

It can be said to be a cultural space for China.

In ancient India, time was born with sacrificial activities, and it was the sacrificial activities that interrupted time again.

The ancient Indian calendar contained elements of astronomy, astrology and religion at the same time, but in fact, the ancient Indian almanac did not play a great role in determining days because the number of times and the order of the year and month were secondary.

People consulted the calendar to determine sacrifice times and religious festivals, and to implement a special auspicious time.

A person's entire life is governed by the laws of time in the "sacred universe".

"Time, the continuous existence of life, is a product of both divinity and humanity." The Vedas exist to fulfill the purpose of sacrificial activities; sacrificial activities are prescribed in chronological order.

Without understanding the Indians 'view of time, it is difficult for us to truly understand India's masterpiece of world intangible cultural heritage, the "Ode to Vedic Tradition" published in 2003).

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As of 2005, UNESCO has published three batches of 90 representative works of human oral and intangible heritage, of which three and a half are in China: Kunqu Opera, Guqin, Xinjiang Uyghur Muqam, Mongolian Changdiao and Mongolia).

There is no form of "cultural space" here.

But this does not mean that China lacks the form or resources of "cultural space." On the contrary, due to the ancient civilization of China that has not been interrupted for thousands of years, coupled with its vast territory and numerous ethnic groups, intangible cultural heritage can be said to have a wide variety of intangible cultural heritage resources, and it can be said to be called the richest country in the world.

Although we have not yet declared cultural space in our "masterpiece", the forms of our cultural space are infinitely diverse.

According to the nature, connotation, style, characteristics and form of the above-mentioned cultural space, the "cultural space" in my country's intangible cultural heritage can come from the following possible channels:

1."Cultural space" determined by regions or different landscapes.

For example, China's islands, deserts, forests, mountains, plateaus, snow-capped mountains, canyons, terraces, grasslands, hills, lakes, various landforms, and different climates in north, south, east and west have formed different human geography; Historically, China's traditional regional cultural classification has also formed the historical foundation of cultural space, such as Chu culture, Qi culture, and Yue culture.

Although geography is not the only determinant of culture, different geography does determine different cultural genes, qualities, structures and styles.

Different "cultural spaces" are formed by different ethnic groups and their cultures.

There are 56 ethnic groups in our country.

The Han nationality is the most widely distributed and has the largest number of immigrants.

There are really many internal cultural differences; ethnic minorities each have their own cultural system and form a diverse and integrated pattern with the Han and other ethnic groups.

Many ethnic minorities also have branches and divergences in terms of family, class, relatives, language, clothing, beliefs, family branches, etc., which can actually be said to be the reason for the diversity of cultural space.

Among the masterpieces of "Cultural Space" published by the United Nations, many are anthropologically based on unique ethnic groups.

A language-based cultural space is composed of different dialects and national languages.

The fundamental role of language in cultural diversity is the same as the significance of biodiversity to environmental protection.

In oral heritage, language is even the prerequisite and primary condition.

There are various dialects in my country's Chinese language; my country's Chinese language has a long history and has formed a "language island" of special academic value in many regions.

The language island is actually a cultural island and a real "cultural space".

The richness of my country's ethnic minority languages is even more amazing, reaching more than 100.

By the 1990s, according to surveys, the total number of languages in my country reached more than 120.

A language is a unique "cultural space".

The unique "cultural space" created by astronomy, calendar or time concept.

Festivals are the most typical of this kind of "cultural space".

There are more than a thousand various festivals for Han and ethnic minorities in my country in total every year.

The festivals of the Han nationality are naturally closely related to the ancient astronomy, summer calendar, etc.

of the Han nationality; even for ethnic minorities, many ethnic festivals also originate from their own historical traditions of the year, the sun, the moon, the four seasons, and the month.

For example, the Yi people have a tenth calendar and an eighteenth calendar, both of which are solar calendars.The Yi people in Wuding, Yunnan define a year as 18 months, with 20 days a month, for a total of 360 days, which is similar to the South American Mayan calendar), and the remaining 5 days are used as the "New Year Day" cultural space).

The decade-calendar is also widely used in many Yi areas, which means that the calendar is based on the zodiac sign, with 36 days in a month and 10 months in a year.

This also causes many cultural behaviors to differ from elsewhere.

For example, Yi markets are operated according to time, so there are Tiger Street, Horse Street, Niu Street, etc.

Each street is held according to its street name and its origin.

Each market is held every 12th day, showing a typical form of cultural space.

The "cultural space" formed by ancient villages.

This should also be an important component and unique presentation of China culture.

China's civilization is farming civilization, and the fortress of farming civilization is ancient villages.

There are various ancient villages in China, and the most intuitive and external difference is the difference in houses and buildings.

Zhouzhuang, the water town, has a Jiangnan flavor.

Hongcun in Xidi is a typical example of Hui culture.

The Hakka enclosed buildings are unique.

The caves in northern Shaanxi are heart-warming.

The bamboo buildings of the Dai family, the Diaojiao buildings of the Tujia family, the carving buildings of the Qiang people, and the Tutu buildings of the Tibetan people are dotted with spectacular scenery.

Ancient villages in some places are famous for their unique feng shui patterns, such as Zhuge Bagua Village, Huefan Village, etc.).

In some places, ancient villages are connected with legendary history and architecture, such as the descendants of the Ming Dynasty in Guizhou and their Tunpu architecture and culture.) Some ancient villages have unique architectural materials and village shapes, such as Shitou Village in Hebei, Beijing, Shanxi and other places).

Some ancient villages are built on unique terrains, such as some ancient villages in the Yi area of Liangshan, Sichuan.

Some ancient villages of the Naxi people in Yunnan, etc.), some ancient villages are gathered from unique cultures such as the Drum Tower and Fengyu Bridge of the Dong people, the Benzhu Temple of the Bai people, the folk beliefs of the Han people in the north and their village temples groups, etc.).

In short, the cultural space of ancient villages is intuitive, closed, complete and vivid.

Such cultural spaces are truly countless in China and are a valuable cultural asset.

In addition, the composition of cultural spaces in China can also include cultural spaces of different ecological styles, cultural spaces of different folk cultures, cultural spaces of different production and lifestyle, cultural spaces of different art varieties, etc.

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The protection of intangible cultural heritage is a worldwide problem and topic.

When people understand and cherish intangible cultural heritage from the perspective and height of cultural wealth shared by all mankind, intangible cultural heritage around the world is facing an endangered and urgent situation.

How to protect "cultural space" well, there is currently no way to set one place.

The author believes that in addition to following the general protection principles of intangible cultural heritage, the protection of "cultural space" also has its own unique protection requirements and special principles.

Here we grasp the protection principles of cultural space from two aspects.

First, the fundamental principles for the protection of cultural spaces.

Its content should include:

The principle of integrity.

Cultural space should adhere to the principle of integrity and be protected completely and holistically.

It cannot be one-sided, divided, or single protection.

It must pay great attention to integrity in protection.

The loss, destruction, or annihilation of any culture in the cultural space is a serious damage to the cultural space.

The principle of authenticity.

Cultural forms and styles in the cultural space should maintain their authenticity.

Even if cultural changes, such changes should be real, in line with the laws of cultural development, and the initiative of the natural development of the community and ethnic group.

If a foreign culture is artificially imposed and the original ecological culture is artificially distorted, the value of "cultural space" will be greatly weakened.

The "cultural space" identified by experts after research should maintain and maintain its cultural values and characteristics identified by experts.

For example, folklore once said that someone had an ancient wooden cabinet with exquisite lacquer, carving, and modeling craftsmanship.

There was a layer of dirt and dust on it, making it like gold in the sand and the king in the jade.

The owner did not recognize the goods and sold it in a market stall.

An antique expert immediately took a fancy and bought it at a high price.

He agreed to bring the money the next day, pay the money and deliver the goods.

It was late, the master thought, such a dirty and old thing could be sold for such a good price.

Wouldn't it be better if he did this? So I was busy all night.

The next day, when the expert paid the money to get the goods, the owner kept him in suspense and said that he would be overjoyed.

So he set up a "new" cabinet that had been honed by sand to expose all the wood.

The ancient lacquer and ancient carvings were completely gone.

The expert quickly collected the money and left in great pain, but the owner was still at a loss.

This is an allegorical story that has a symbolic meaning for the protection of our cultural space heritage.

Ecological principles.

The existence of "cultural space" is closely related to geography, environment, and ecology.

It is an ecological culture or has cultural ecology.

Therefore, both natural ecology and cultural ecology should be given high attention and careful care.

In the cultural space, many cultures are locally sourced and native; many cultures are born and developed with traditions and folk customs.

Therefore, to protect cultural space well, we must protect the nature and cultural ecology on which cultural space depends for survival and reliance.

Immigration, conversion from nomadic to settled agriculture, building dams and reservoirs, abandoning mother tongues, etc.

may be progressive and modern measures for the general group, but for a world-class "masterpiece", if cultural space encounters these, It will be disaster and misfortune.

Ecological variation makes it impossible to talk about the integrity and authenticity of culture.

Life principles.

Intangible cultural heritage is living, dynamic, behavioral, practical, living, and living.

In short, it is a living culture.

If intangible cultural heritage is no longer a part of our lives, or if intangible cultural heritage is no longer closely related to life in cultural space, but becomes for others to watch, become for others to demonstrate, and become purely a form of show and become a pure tourism existence, then it will lose its vitality, life and vitality.

This phenomenon can be seen everywhere in my country.

Ancient villages and towns in some places have preserved an empty shell, and people in the village have moved elsewhere to live a different life.

This empty shell has become a "stage".

When tourists come, they will occasionally perform for them in a stereotyped manner.

Some places do not cherish the beloved intangible cultural style and its original ecology.

Instead, they want to spend huge sums of money to build a brand new "garden", where they can put some performances from afar, or put the original local culture into the garden.

This kind of practice in these places is not only not protection, but also a kind of destruction that accelerates its extinction.

It is killing the goose that lays the golden egg, protective destruction, commercialization and industrialization of heritage, eager for quick success, and a lack of respect for science and cultural development.

Second, there are several specific operating rules for cultural space protection.

Protection of dynamic and static combination.

It mainly means that the protection of dynamic culture, demonstration art, folk behaviors, etc.

in the cultural space must be combined with static artifacts, tools, objects, constructions, inscriptions, texts, etc., so that people cannot be seen without objects, nor can they be seen without objects.

People should be seen with both people and objects, movement and stillness.

Protection of the combination of tangible cultural heritage and intangible cultural heritage.

On the one hand, we must pay attention to both material cultural heritage and intangible cultural heritage in protection; on the other hand, we must combine the protection methods of material cultural heritage with registration, maintenance, grading, characterization, preservation, preservation, moth-prevention, corrosion prevention, classification, etc.) and the protection law of intangible cultural heritage to form a comprehensive and effective presentation and protection.

For example, during surveys, a general census of cultural relics should be conducted, and a scientific census of folk customs and special surveys should be conducted; when recording, multiple records of text, audio recording, and photography should be required, and the entire process should be recorded, not only recording the physical objects, but also recording the production and use of the physical objects., craftsmanship, craftsmen, cultural symbols, etc.

At present, the internationally popular ecological museum construction has such a comprehensive concept of on-site original ecological protection, which deserves continuous improvement and improvement.

Combine ecological protection with humanistic protection.

The protection of cultural space must take into account both nature and humanity.

Ecological protection must use the knowledge, means and technology of ecological protection, and humanistic protection must adhere to the scientific, professional and cultural standards.

Protection here is a combination of science and culture, and the two complement each other.

The protection of one cultural category is combined with the protection of various cultural categories.

In the cultural space of intangible cultural heritage, there is usually a cultural category that is particularly prominent, unique, and valuable, but when protecting it, we must not only focus on one thing and ignore others.

This prominent category usually interprets and survives each other with other categories, or this prominent category relies entirely on other categories as a cultural background to manifest itself.

Therefore, the protection of cultural spaces must pay special attention to the internal relevance of culture.

Of course, this should also include the combination of performing arts and crafts, the combination of auditory culture of oral heritage with the visual culture of plastic arts, and the combination of overall protection of ethnic groups with the protection of outstanding inheritors.

Whether it is recording, inheritance, education, demonstration, Research, various protection measures must adhere to the policy of taking into account and coordinating.

In short, the concept of cultural space is an enlightening reference in the protection of intangible cultural heritage.

It is an idea, a cultural form or category, and a protection practice.

Through understanding of cultural space, we can enhance our understanding and understanding of intangible cultural heritage.

Experiments and practices in the protection of cultural spaces will also become the most meaningful protection actions.

Cultural space provides a scientific paradigm and a new perspective for us to protect intangible cultural heritage.

It is of great significance to the rescue, protection, inheritance and development of my country's intangible cultural heritage that has not yet used the concept of cultural space, and should lead to further research and discussion.

[References]

"Survey Manual of China Folk Cultural Heritage Rescue Project"[M], p.

218, Higher Education Press, February 2003

"Survey Manual of China Folk Cultural Heritage Rescue Project"[M], p.

219, Higher Education Press, February 2003

"UNESCO Guidelines for the Application of Representative Works of Oral and Intangible Heritage of Humanity"[M], page 2, Culture and Art Press, June 2005

Liu Hongying and Wang Jianmin,"Introduction to World Heritage"[M], p.

130, China Tourism Press, August 2003

Xiang Yunju,"Oral and Intangible Heritage of Humanity"[M], p.

315, Ningxia People's Publishing House, September 2006

See UNESCO website: www.unesco.org [EB/OL]

Xiang Yunju,"Oral and Intangible Heritage of Humanity"[M], pages 128 - 143, Ningxia People's Publishing House, 2006

Louis Gadi et al."Culture and Time"[M] translated by Zheng Leping et al., p.

66, Zhejiang People's Publishing House, published in July 1988

Sun Hongkai,"Investigation and Research on Blank Languages in China"[J], published in "New Expansion of Linguistics in China", City University of Hong Kong Press, 1999.

Liu Yaohan's "Ten Calendar of the Yi Nationality in Civilized China"[M], Yunnan People's Publishing House, published in December 1986.

Xiang Yunju: Secretary-General of China Folk Literary and Art Association, Beijing, 100026

This article was published in the Journal of the Central University for Nationalities, No.

3, 2008)