Village culture is the lifeblood of national cultural inheritance

[Core Tips] The inheritance of villages and communities maintains the most original form of national culture and is the living cell and gene bank of national culture.

Many types of intangible cultural heritage are dependent on the cultural traditions of the village and community.

Village culture is the lifeblood of national cultural inheritance0

Over the past ten years, with the popularization of the concept of intangible cultural heritage and the rise of the craze of application for cultural heritage, the establishment and protection of relevant intangible cultural heritage institutions within my country's system has been gradually improved and standardized.

The promulgation of the "Intangible Cultural Heritage Law of the People's Republic of China" in 2011 provided legal guarantee for the normalization and sustainability of intangible cultural heritage protection.

It should be said that my country's intangible cultural heritage protection work is carried out quickly, vigorously, and has a large investment.

However, due to my country's multi-ethnic and vast geographical situation, there is still a large gap between the funds invested and the need to maintain the normalization and grassroots protection work.

In addition, the development of my country's modernization and urbanization has entered a period of rapid development since the beginning of the new century.

With the disappearance of ancient villages of many ethnic groups and the evolution of customs, ancient farming cultural traditions are in urgent need of rescue and protection.

At the same time, some cultural practices listed as cultural heritage are still facing the dilemma of inheritance.

Village culture is the lifeblood of national cultural inheritance1

Research on villages that promote intangible cultural heritage protection

The working model of "intangible cultural heritage declaration + project protection" and the top-down institutionalized working concept can no longer adapt to the reality of rapid changes.

Intangible cultural heritage protection work is beginning to show new trends in its own development under the background of continuous opening and change.

These new trends are also triggering and promoting the emergence of new concepts of intangible cultural heritage cognition and practice.

In 2009, China paper-cutting was selected into the UNESCO "Representative List of World Intangible Cultural Heritage of Humanity", but the national culture involved and the research value it contains are something we have not yet been able to fully realize.

Since the beginning of the new century, the Intangible Cultural Heritage Research Center of the Central Academy of Fine Arts has used a team of volunteers to engage in social projects related to paper-cutting in China, and has proposed research methods on intangible cultural inheritance and protection of living cultural village communities.

Focusing on this method, the team launched a series of special topics on folk art and intangible cultural heritage, from the application of paper-cutting to the protection of rural original ecological culture, from cultural inheritance in the field of education to teacher training, and the artistic creation and teaching practice of new paper-cutting.

Practice has effectively promoted the expansion of scientific research and teaching.

The research method of village and community culture has opened up a new state of research on intangible cultural heritage and folk art, and includes the following aspects in the specific implementation.

1.

A living cultural survey based on villages).

Specifically, these include: Activity content of village community cultural belief festivals and sacrifices within one year; the use of paper-cutting in various beliefs and customs matters in the village community, tools, materials, production techniques, mnemonics, and related oral culture; The symbolic and metaphorical connotation of other belief cultural types associated with paper-cutting in the village community cultural tradition; the cultural differences between different branches in the same ethnic region and the connection and influence of paper-cutting cultural traditions of different ethnic groups in the same region; Specific problems and solutions in inheriting the current situation; Other types of folk art that use paper-cutting as a template for decoration reproduction, etc.

2.

A survey of oral culture and hand-passed culture with inheritors as the main body.

Specifically, it includes: the inheritor's artistic experience and teacher inheritance, as well as the inheritance to the next generation, the inheritor's artistic time and influence in the village community; the types of paper-cutting patterns mastered by the inheritor, as well as their production processes, formulas, legends and beliefs; the inheritor's oral explanation of the paper-cutting folk rituals and the cultural methods and processes used in life, etc.

3.

Investigation on the connotation and classification of paper-cutting decorations centered on the use function of paper-cutting culture and beliefs.

4.

Survey on the collection of paper-cutting objects targeting complete paper-cutting types in ethnic areas.

In this process, we found that the multi-ethnic nature of China's paper-cutting presents a culturally diverse art world.

According to field surveys, nearly 30 ethnic groups in our country have customs and traditions related to paper-cutting.

China's paper-cutting is a "new cultural continent" with great value for civilized research.

Intangible cultural heritage has no stylized cultural standards.

It is presented as a specific and unique living cultural existence.

In the past, our research on paper-cutting paid too much attention to the pattern system, ignored the cultural existence of paper-cutting in the village cultural tradition, and even ignored the research on restoring paper-cutting to specific ethnic village culture.

The concreteness of culture is not only incomplete in previous research, but is also easily confused and subjective in terms of time frames and characteristics of local knowledge.

As a result, the deduced theory is objectively rough and does not have the value and value of life restoration.

authenticity.

The inheritance of villages and communities maintains the most original national cultural form and is the living cell and gene bank of national culture.

Many types of intangible cultural heritage are dependent on the cultural traditions of the village and community.

It is not only the soil for the growth of historical relics and ethnic cultural memories, but also a public society that adapts to and regulates the current survival of ethnic groups.

The study of living culture in village communities allows us to enter a cultural ecology as a whole, return to the world of village communities, discover the real existence of culture, and discover the emotional, psychological and social needs of village communities for culture.

Problems presented in the inheritance of village community culture

In the cultural research of village communities around the art of paper-cutting, we can hear the voices of grassroots cultural inheritance.

These voices not only represent the current situation of village communities, but also provide reference for the implementation of intangible cultural heritage protection work.

In the survey of villages and communities of various ethnic groups, we sorted out some problems and current situations in the current intangible cultural heritage protection work.

First, the development of modernization and urbanization has diluted the ethnic cultural traditions of villages and communities, and many traditional and ethnic symbols have changed or declined.

For example, ethnic costumes have gradually faded in some areas and styles have become increasingly simplified; many traditional folk daily necessities have been replaced by modern goods.

Second, handmade productions such as folk embroidery and costume making related to paper-cutting techniques are facing an endangered trend.

In order to meet market demand, many handmade productions have been generally replaced by machine productions.

Third, intangible cultural heritage protection work has promoted the introduction of folk paper-cutting into society.

Many people who have become representative inheritors or have won the title of "Folk Art Masters" perform, display, and sell works everywhere.

However, paper-cutting in cultural native places still lacks a market and is in the uninhabited world.

The edge of attention.

Those inheritors who have left the folk needs of the local market have become increasingly divorced from the original folk customs and traditional characteristics and become a decorative commodity lacking cultural connotation during the continuous performance.

A cultural logistics inheritance method like this looks like a kind of prosperity on the surface, but in fact it is a kind of inheritance that weakens local grassroots culture.

Fourth, my country's urbanization and urbanization development have entered a period of rapid development.

Many local governments have experienced frequent incidents of over-development and forced development, and village culture is facing decline and disappearance.

Village life is a complete national cultural record, and the disappearance of villages means the disappearance of an unreplicable cultural ecology and form.

Therefore, we should attach great importance to the rescue excavation of representative cultural types in the cultural traditions of multi-ethnic villages and communities.

Fifth, in the collective consciousness of village people's survival culture and psychology, ancient witchcraft cultural memories still exist.

Therefore, the inheritance and protection of ceremonial paper-cutting has a certain spontaneous foundation for the beliefs of village people.

We should pay attention to and protect these culturally representative ceremonial paper-cutting because of their rare value as a cultural species, that is, their culture.

The significance and cognitive significance of historical civilization have far exceeded paper-cutting itself.

Sixth, educational inheritance is one of the important means to promote the traditional cultures of different ethnic groups into modern cultural forms.

However, at present, village-level education in my country is far from meeting the needs of village community cultural inheritance.

The lack of village community education has accelerated the disintegration of village community cultural ecology.

Let the village serve as the starting point for living cultural research

The investigation and research of paper-cutting began when entering the village.

This is a starting point for the study of living culture.

It restores the paper-cutting of different ethnic groups to the specific village and community cultural traditions of the ethnic group.

First of all, we must pay attention to the daily characteristics of paper-cutting art.

The skills of folk paper-cutting come more from people's own cultural habits and the experience and traditions of handmade creation.

The endless vitality of folk art stems from the instincts and habits of culture and living habits of her and human beings.

Paper-cutting is a living cultural behavior.

No matter what material is selected, the cutting and carving on flat materials are the most daily and handmade life traditions of different ethnic groups.

Handicraft, planarity, and daily life needs, as well as the symbolism of decoration metaphors, have become the common cultural characteristics of multi-ethnic paper-cutting.

Secondly, we must pay attention to the different regional cultural states of paper-cutting art.

For example, the skin-cutting traditions of some ethnic groups in the Northeast Shaman Cultural Zone reflect the more primitive thinking characteristics of nomadic culture and fishing and hunting culture.

The shapes in skin-cutting of these ethnic groups use simple silhouette graphics like rock paintings to express their familiar image of nomadic animals in their lives.

Because their ethnic origins are close to the Central Plains, many of their paper-cutting patterns are related to and similar to Han paper-cutting in terms of flower and grass types.

Paper-cutting in the Hinayana Buddhist cultural area in Yunnan has the cultural characteristics of Southeast Asia.

Whether it is the pattern or the shape of paper-cutting, it all has subtropical natural characteristics and religious stylized colors.

We must discover the true value and artistic characteristics of paper-cutting as a cultural species, make the living culture in the village an interpreter of civilization, and tell the stories in the village, rather than using the stories in the village to fill the academic dream.

This article is a phased achievement of the National Social Science Foundation's key art project "Investigation and Research on the Paper-cutting Art Tradition of Ethnic Minorities in China" 09AF006)))

Author's unit: Center for Intangible Cultural Heritage Research, Central Academy of Fine Arts)

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