[Ma Zhiyao, Liu Xuxu] Review of the Research on Intangible Cultural Heritage Works in China
Abstract: Protecting intangible cultural heritage has become a cultural hotspot in today's society.
The research results related to this are very rich.
The currently published intangible cultural heritage works can be divided into academic and non-academic categories, and their authors cover the government, scholars and the public.
By sorting out intangible cultural heritage works, we can describe the history of intangible cultural heritage protection and research in China over the past ten years: intangible cultural heritage protection has changed from a "craze for application" to a "heavy declaration and more emphasis on protection", and intangible cultural heritage research has changed from Clarifying basic concepts to trying to create a new discipline.
Judging from the number and quality of intangible cultural heritage works currently published, the practice and academic research on the protection of intangible cultural heritage in China has become the forefront of the world in a short period of time, but many scholars have also pointed out that there are still many problems in the protection of intangible cultural heritage in China.
In the context of the "post-intangible cultural heritage" era, sorting out intangible cultural heritage works is not only a summary of the previous stage, but also provides reference for future intangible cultural heritage protection and research.
Keywords: Intangible cultural heritage; intangible cultural heritage works; research review
It has been 18 years since China Kunqu Opera entered the first batch of "Oral and Intangible Cultural Heritage of Humanity" masterpieces in the United Nations in 2001.
During this period, China has made rich achievements in intangible cultural heritage research and protection.
After a nationwide intangible cultural heritage census and intangible cultural heritage declaration, we have basically figured out our own family background and formed a lot of materials including videos, audio, pictures, texts, etc.
At present, intangible cultural heritage protection units established by governments at all levels have basically established databases covering intangible cultural heritage projects in the region.
Tens of thousands of intangible cultural heritage books have been published.
In 2014, the National Joint Cataloging Center publicly published a statistical data.
As of then, more than 15800 intangible cultural heritage books have been published.
Through the "Duxiu" website, using "intangible cultural heritage" as the keyword, the author searched more than 5400 highly relevant intangible cultural heritage books.
According to the content of the books, they can be divided into two categories: academic and non-academic.
The main contents of academic books include: theoretical research on intangible cultural heritage, research on protection and utilization of intangible cultural heritage, research on specific intangible cultural heritage projects, research on inheritors, and academic collections of intangible cultural heritage.
Non-academic books are mainly published by intangible cultural heritage protection departments at all levels in graphic and graphic form to introduce intangible cultural heritage and its protection status in the area.
From the Ministry of Culture to prefectures and cities, almost every intangible cultural heritage protection department at all levels has published books introducing the achievements of intangible cultural heritage protection in the region.
This paper mainly takes published intangible cultural heritage works as the research object, excluding collections of academic papers and internal materials published and printed by intangible cultural heritage protection departments at all levels.
In 2011, the academic community proposed the "post-intangible cultural heritage era" Feng Jicai) and the "post-cultural heritage era" Gao Xiaokang).
The national intangible cultural heritage census has been basically completed, but academic research on intangible cultural heritage is still in the exploration stage, summarizing and Reflecting on the past has become a new perspective for current academic research.
Therefore, it is very necessary to sort out and study the currently published intangible cultural heritage works.
1.
Research on works on intangible cultural heritage protection achievements
The content of non-academic intangible cultural heritage works mainly displays the achievements of intangible cultural heritage protection.
Among these works, they are divided into local intangible cultural heritage census results displays, popular intangible cultural heritage introductions, and summaries of individual or government work.
The characteristics it presents are as follows: First, most of these works are compilations of local intangible cultural heritage application materials, and they have strong re-research value as basic data archives; second, most of the works are mainly research on the achievements of intangible cultural heritage protection in the region, and are popular and popular; Third, most of the works are rich in pictures and texts, but it is difficult to promote among ordinary people due to the high price of the book; Fourth, the projects involved in the works cover a wide range of topics and are a general introductory reading material.
The large number of publications on intangible cultural heritage protection achievements is a reflection of the government's emphasis on intangible cultural heritage protection in recent years.
Intangible cultural heritage protection departments at all levels, as the main body of intangible cultural heritage protection, invisibly promote the sharing of intangible cultural heritage protection results by all people by describing intangible cultural heritage projects in their region, and also provide basic materials for scholars engaged in folklore, anthropology, sociology, and culture.
1) Display of intangible cultural heritage census results
Since 2003, China has implemented a national, provincial, municipal and county-level intangible cultural heritage protection list, and most provinces and cities have compiled and published intangible cultural heritage items that have entered the list.
The "Oral and Intangible Cultural Heritage of Humanity Series" published in 2005 should be the earliest series to introduce intangible cultural heritage.
Guqin, Kunqu Opera and other intangible cultural heritage projects with rich value that have entered the World Intangible Cultural Heritage List are selected and compiled into "Kunqu Opera".
There are 8 books including "Guqin","Muqam","New Year pictures","Shaolin Kung Fu","Regong Art","Tibetan Opera" and "Nanyin".
"China Intangible Cultural Heritage 2006" publishes the intangible cultural heritage items of various provinces and cities that have entered the first batch of national-level intangible cultural heritage lists in the form of short and refined words with pictures.
All the materials forming this book are directly provided by reporting units at all levels.
The "National Intangible Cultural Heritage List" is also a collection of census results with illustrated pictures and texts compiled based on the application materials for national-level intangible cultural heritage projects.
It comprehensively and systematically introduces all the projects selected for the national-level intangible cultural heritage list.
The text is concise and the pictures are exquisite.
As provincial-level intangible cultural heritage protection departments, they have also published the region's intangible cultural heritage catalog in reference to the national intangible cultural heritage catalog.
For example,"Shandong Province Provincial Intangible Cultural Heritage Directory","Shaanxi Province Intangible Cultural Heritage Directory","Tibet Autonomous Region Intangible Cultural Heritage Directory","Shanghai City Intangible Cultural Heritage Directory","Qinghai Province Intangible Cultural Heritage Directory","Heilongjiang Province Intangible Cultural Heritage Directory","Anhui Province First Batch of Intangible Cultural Heritage Directory","Jilin Province Intangible Cultural Heritage Directory" Hunan Province Intangible Cultural Heritage List ", etc., some provincial-level intangible cultural heritage lists are not only documentary and informative, but also academic.
Some municipal intangible cultural heritage protection departments have also published city-level intangible cultural heritage catalogs such as "Guangzhou City Intangible Cultural Heritage Catalog 2006-2008","NanNing City Intangible Cultural Heritage Catalog","Ma 'anshan Intangible Cultural Heritage Catalog Catalog of Intangible Cultural Heritage of Shangqiu City Catalog of Intangible Cultural Heritage of Fuyang City Catalog of Intangible Cultural Heritage of Prefecture-level Cities, Catalog of Intangible Cultural Heritage Catalog of Intangible Cultural Heritage of Prefecture-
Display intangible cultural heritage projects in the region in the form of maps, charts, and pictures, so that the results of the intangible cultural heritage census can be displayed more intuitively and scientifically to the public.
For example, the "Atlas of the List of Intangible Cultural Heritage of Shandong Province" takes 17 districts and cities in Shandong Province as independent chapters.
It makes the intangible cultural heritage lists at or above the county level owned by each city into intuitive maps according to geographical spatial distribution.
It then combines text summaries, pictures and tables to comprehensively reflect the relevant situation of all intangible cultural heritage items in the list in Shandong Province.
The "Atlas of Intangible Cultural Heritage of Shanxi Province" takes the distribution of intangible cultural heritage projects at or above the municipal level in all counties as an important content.
It details the background, overview, inheritance and development, protection and utilization of intangible cultural heritage in Shanxi Province, and displays the results of intangible cultural heritage protection and declaration in Shanxi Province.
This kind of display of intangible cultural heritage protection results in the form of an atlas is an innovation in intangible cultural heritage protection work.
Each province and city takes county-level intangible cultural heritage protection units as the starting point to visually display the distribution, density and categories of intangible cultural heritage owned in the local domain, and also shows the basic situation of intangible cultural heritage protection.
Basically all municipal intangible cultural heritage protection departments have published intangible cultural heritage works, such as "Watching the Spiritual Home: The First Batch of Intangible Cultural Heritage List Album in Weifang City" and "The Remnant of Ancient Style: The Second Batch of Intangible Cultural Heritage List Album in Weifang City" published by Weifang Intangible Cultural Heritage Protection Center The Third Batch of Intangible Cultural Heritage List of Weifang City ", and books published by intangible cultural heritage protection centers in other prefecture-level cities include" The Essence of Intangible Cultural Heritage of Weihai City "," The Essence of Intangible Cultural Heritage of Yantai City "," The Essence of Intangible Cultural Heritage of Tai 'an City "," Zhengzhou Intangible Cultural Heritage ", etc.
Some county-level intangible cultural heritage protection centers record the results of intangible cultural heritage protection within their respective jurisdictions in the form of illustrated pictures and texts, such as "Shouguang Intangible Cultural Heritage","Intangible Cultural Heritage" in Linqu County,"Shanwei Intangible Cultural Heritage","Heyuan Intangible Cultural Heritage", etc.
Works on intangible cultural heritage protection achievements published in other forms are also rich and diverse.
Some select some of the most representative intangible cultural heritage projects and compile them into books, such as "Essence of Intangible Cultural Heritage of Shandong Province","Essence of Intangible Cultural Heritage of Guangxi","Jin Feng: Essence of Intangible Cultural Heritage of Shanxi Province", etc.
There are also intangible cultural heritage protection departments that publish a series of intangible cultural heritage books, such as "Qilu Intangible Cultural Heritage Series","Representative Series of Intangible Cultural Heritage of Zhejiang Province","Sichuan Intangible Cultural Heritage Series","Guangxi National Intangible Cultural Heritage Series","Liaoning Intangible Cultural Heritage Series","Liaoning Intangible Cultural Heritage Series", etc.
2) Popular intangible cultural heritage works
Popular intangible cultural heritage works mainly refer to intangible cultural heritage works published by intangible cultural heritage protection departments or social groups that are interpretable, scientific and popular.
The "Intangible Cultural Heritage Knowledge Reader", which was jointly completed by scholars and intangible cultural heritage protection workers, is the earliest published comprehensive intangible cultural heritage general reading book.
The publication of this book fully reflects the work idea of "government-led and scholars-based" intangible cultural heritage protection.
The book starts with the origin of intangible cultural heritage protection and combines classic protection cases to popularly explain why and how to protect intangible cultural heritage.
The reading target is mainly the general public.
"Must Read for Intangible Cultural Heritage Protection Cadres" is an intangible cultural heritage work completed for intangible cultural heritage protection workers.
The authors Yuan Li and Gu Jun stand from the perspective of scholars and use questions and answers in order to eliminate intangible cultural heritage protection work.
Various questions.
There are also intangible cultural heritage science books aimed at primary and secondary school students.
For example, the "Reading for Primary School Students of China Intangible Cultural Heritage" selects 120 intangible cultural heritage suitable for young people from the "First Batch of National Intangible Cultural Heritage List".
It introduces China's intangible cultural heritage in the form of words and pictures suitable for children to read, encourages young people to participate in intangible cultural heritage protection, and hopes to cultivate young people's cultural confidence and awareness of intangible cultural heritage protection.
Similar books include "Concise Knowledge Reading of Intangible Cultural Heritage for Middle School Students".
Some intangible cultural heritage science works are not only readable and popular, but also have a certain academic nature.
For example,"Local Reading Book of Intangible Cultural Heritage of Anhui Province" is the most representative book introducing Anhui's intangible cultural heritage from the perspective of regional culture.
The Northern Anhui Volume and the Central Anhui Volume have been published.
"Memory Archives of Intangible Cultural Heritage" introduces 15 national-level intangible cultural heritage projects, including the Confucius Sacrifice Ceremony, Languan Opera, China Paper-cutting, and Lu Opera, in a fascicle format.
It is both popular and informative.
There are also works that introduce an intangible cultural heritage project from multiple perspectives.
For example, the series "The Legend of the China Cowherd and the Weaver Girl" organized and published by Yiyuan County, Zibo City is an attempt to use academic power to explore and organize local intangible cultural heritage resources.
Other works include "Reading Book of Intangible Cultural Heritage in Shaoxing City" and "Reading of Wuhan Intangible Cultural Heritage", as well as intangible cultural heritage projects based on the world that introduce home or other countries, such as "World Intangible Cultural Heritage" and "China's World Intangible Cultural Heritage".
3) Summary of intangible cultural heritage protection work
The summary of intangible cultural heritage protection work is a report on the status of intangible cultural heritage protection from the perspective of the government or entrusted scholars.
It is often presented in the form of development reports or research reports, reflecting a certain academic and practical nature.
"China Intangible Cultural Heritage Protection and Development Report 2012" is a summary of the intangible cultural heritage protection work in the previous ten years initiated by scholars from Sun Yat-sen University.
It has been continued since then.
Every year, they conduct a summary of the national intangible cultural heritage matters in the previous year and form a special report.
Some provinces and cities have also completed intangible cultural heritage protection and research reports in their region.
For example, the "2009 Beijing Intangible Cultural Heritage Research Report" reflects strong historical data, research and professionalism.
The publication of this work is not only a phased summary of Beijing's intangible cultural heritage protection work, but also a comprehensive display of the intangible cultural heritage protection achievements of counties and districts in Beijing.
Similar works published by other provinces include "Xinjiang Intangible Cultural Heritage Research Report 2012" and "Henan Intangible Cultural Heritage Report 2013)".
The former gathers the strength of many intangible cultural heritage scholars and summarizes Xinjiang's regional theory on intangible cultural heritage, intangible cultural heritage case studies and grassroots intangible cultural heritage protection, etc., showing the current practice and research status of intangible cultural heritage protection in Xinjiang.
The latter stands on the achievements of the ten years of intangible cultural heritage protection in Henan Province.
Based on the examples of intangible cultural heritage protection in this province, it summarizes the current difficulties in intangible cultural heritage protection work: the disappearance of intangible cultural heritage is accelerating, and grassroots intangible cultural heritage protection There are many "affiliated" institutions, lack of professional intangible cultural heritage personnel, insufficient special protection funds, and insufficient construction of grassroots intangible cultural heritage protection facilities.
There are also summaries of the results of the intangible cultural heritage protection of ethnic minorities from the perspectives of ethnic culture and regional research.
For example, the "Report on the Development of Intangible Cultural Heritage of Ethnic Minorities in China" analyzes the four batches of intangible cultural heritage lists and intangible cultural heritage inheritors issued by the state between 2006 and 2014, and points out that the intangible cultural heritage list of ethnic minorities has the characteristics of "coexistence of single and composite projects" and "multiple ethnic groups sharing one intangible cultural heritage." The "Research Report on the Protection and Inheritance of Intangible Cultural Heritage of the Scattered and Mixed Ethnic Minorities in the Wumeng Mountains of Yunnan Province" is divided into five parts: "Overall Research Report","Special Research Report","Comprehensive Arrangement of Intangible Cultural Heritage Projects","References" and "Appendix".
It summarizes the ecological characteristics, protection status, existing problems, etc.
of the intangible cultural heritage of ethnic minorities in this area in recent years, and puts forward the view of "multi-ethnic harmonious cultural ecology."
Feng Jicai's works are the most distinctive summary of intangible cultural heritage protection for individuals or groups.
Feng Jicai is an intellectual who "walks out of the bookstore" and attaches great importance to intangible cultural heritage field research.
His intangible cultural heritage protection practice summarizes intangible cultural heritage protection work through descriptive prose, becoming an intellectual who reflects and inspires people to take action.
His articles are academic and prose in nature, and are unique in academic circles, such as "Wuqiang New Year Painting Rescue Documentary", which writes documentary documentaries on the rescue of cultural heritage.
It attempts to arouse people's pain for the precious cultural heritage that is fading around them, and uses an appeal to awaken people's cultural awareness of protecting intangible cultural heritage.
"Discovery of Ancient Painting Township in Northern Henan" records the newly discovered New Year paintings in Hua County, where New Year paintings were produced, and guides the public on the concepts and methods that should be established in the protection of intangible cultural heritage of folk art.
"Dying Rescue of an Ancient Painting Township" records the intangible cultural heritage protection work in the form of cultural archives and summarizes the thoughts on intangible cultural heritage protection.
In other works such as "Souls Can't Kneel","Folk Aura","Local Spirit","New Year Pictures Notes","New Year Pictures Action", etc., combined with the cutting-edge theory of intangible cultural heritage protection, it proposes "Cultural Heritage Day" and "Culture cannot be industrialized"."Post-intangible cultural heritage era" and "Traditional villages are another kind of cultural heritage".
In the specific intangible cultural heritage protection work, there are also workers engaged in intangible cultural heritage protection who summarize their experience in intangible cultural heritage protection from work practice.
For example,"Keeping the Roots: Forerunner Thoughts on the Protection of Intangible Cultural Heritage in Zhejiang Province" completed by Wang Miao, who is engaged in intangible cultural heritage protection work in Zhejiang Province, is not only a collection of manuscripts on intangible cultural heritage protection work over the past decade, but also a microcosm of China's specific intangible cultural heritage protection work.
2.
Discussion and construction of intangible cultural heritage theory
China's understanding of intangible cultural heritage has gone through a process from unfamiliar to familiar, which is inseparable from the promotion of scholars in the fields of anthropology, folklore, sociology, art and other fields.
They interpret the phenomenon of "intangible cultural heritage" from their respective fields of expertise, and try to find a path they are familiar with to connect this new concept with traditional knowledge.
It is precisely through the efforts of cultural scholars that academic knowledge about intangible cultural heritage has been continuously accumulated, and the concept, characteristics and value of intangible cultural heritage have been continuously explained, clarified and improved.
Some scholars have also tried to establish an "intangible cultural heritage science."
1) Evolution and definition of the concept of intangible cultural heritage
The academic community's understanding of the concept of intangible cultural heritage has gone through a process of continuous improvement.
Domestic scholars define and interpret the concept of intangible cultural heritage based on documents issued by international and governments.
Although the interpretation angles are different, they basically agree that intangible cultural heritage is an important component of cultural heritage.
Part, it is an excellent expression of traditional culture, but intangible cultural heritage is not purely intangible or intangible, but a cultural heritage carried by human materials.
Song Junhua and Wang Kaitao believed in "Research on the Protection of Intangible Cultural Heritage":"The concept of intangible cultural heritage was not first born in academic circles, but was born in international conventions that embody the game and collusion between sovereign states.
It was promoted by the national government.
Accepted by academic circles and ordinary people." In the book "Research on the Industrialization of Dong 'e E-jiao Production Skills: Based on the Perspective of Intangible Cultural Heritage", the author sorted out the development history of the concept of intangible cultural heritage and believed that the development of the concept of intangible cultural heritage has gone through five stages: the concept of folk creation), the concept of popularization of oral and intangible heritage) and the concept of establishment of intangible cultural heritage).
Although other scholars have not made a clear summary of the development history of the concept of intangible cultural heritage, they all agree that the formation of the concept of intangible cultural heritage is influenced by the foreign concepts of "intangible cultural property" and "folk creation".
As an early-published pioneering work with basic theoretical research on intangible cultural heritage,"Introduction to Intangible Cultural Heritage" edited by Wang Wenzan also has a similar statement: the source of the concept of "intangible cultural heritage" is influenced by the "Cultural Property Protection Law" promulgated by Japan in 1950."Intangible cultural property" proposed in the "Law on the Protection of Folk Creative Works" and the "Folk Creation" proposed in the "Bill on the Protection of Folk Works" promulgated by UNESCO in 1989; In 1997,"oral and intangible heritage of mankind" first appeared in UNESCO documents; in 2003, the concept of "intangible cultural heritage" was established in the Convention for the Protection of Intangible Cultural Heritage promulgated by UNESCO.
Of course, intangible cultural heritage has gone through a process of localization in China.
Mou Yanlin believes that although the concept of intangible cultural heritage in China originated from the United Nations Convention for the Protection of Intangible Cultural Heritage, in his book "Introduction to Intangible Cultural Heritage", he believes that the "performing arts","social customs" and "knowledge and practices about nature and the universe" listed in the Convention.
In China, they are respectively expressed as "traditional performing arts","folk activities" and "folk traditional knowledge and practice related to nature and the universe".
In 2005, the "Opinions on Strengthening the Protection of Intangible Cultural Heritage in my Country" of the General Office of the State Council proposed a concept applicable to China characteristics."Intangible cultural heritage refers to the inheritance of people of all ethnic groups from generation to generation and closely related to people's lives.
Various traditional cultural expressions such as folk activities, performing arts, traditional knowledge and skills, as well as related instruments, objects, handicrafts, etc.) and cultural spaces." In the book "World Intangible Cultural Heritage" published later, Xiang Yunju believed that "the definition of intangible cultural heritage has gone from 'folk creation' to 'oral and intangible heritage' and then to 'intangible cultural heritage'.
The evolution of heritage 'has not fundamentally wavered in its purpose and core."
"What is intangible cultural heritage" has always been a constant interpretation by scholars, and the "immaterial" in the concept of intangible cultural heritage has always become a difficult point in understanding.
Xiang Yunju's early work "Oral and Intangible Heritage of Humanity" used the expression "Oral and Intangible Heritage of Humanity", believing that the proposal of this concept was a supplement and improvement to the existing "cultural heritage", but pure Intangible cultural heritage does not exist.
The biggest feature of "intangible heritage" is that it uses the human body as the carrier.
In "Introduction to Intangible Cultural Heritage" edited by Wang Wenzan, it is believed that intangible "is not insulated from matter and has no material factors, but focuses on protecting the intangible spiritual factors carried by material factors...
Intangible cultural heritage is a complex combination of material tangible factors and intangible intangible spiritual factors." These statements in the book clearly illustrate that material cultural heritage has non-material spiritual factors, and intangible cultural heritage also has material factors.
However, compared with material cultural heritage, intangible cultural heritage emphasizes different points.
Intangible cultural heritage emphasizes vitality and human factors.
Some scholars refer to intangible cultural heritage as intangible cultural heritage or folk cultural heritage.
For example, Qiao Xiaoguang proposed in "Living Culture: A Preliminary Study of Intangible Cultural Heritage in China" that intangible cultural heritage, also known as intangible cultural heritage, is a supplement to the world heritage material cultural heritage."It mainly refers to non-written and oral transmission by humans." Folk culture and art) heritage with national historical heritage and wide representation." There is a similar statement in the book "Introduction to Intangible Cultural Heritage" compiled by Qin Yeyin and Zhang Hongzhuan: "Intangible cultural heritage, also known as intangible cultural heritage, mainly refers to the passing on by humans orally or in action, with national historical heritage and extensive, outstanding representative folk cultural heritage." Folklore scholar Duan Baolin proposed in his book "Essence of Intangible Cultural Heritage" from the perspective of folklore that intangible cultural heritage is mainly folk culture.
Cai Jingquan also supports this view.
He proposed that the concept of intangible cultural heritage in "Cultural Heritage" is expanded from "traditional folk culture"."Intangible cultural heritage is a relic of spiritual wealth with cultural value created by human beings in social practice, reflected by relevant physical carriers, behavioral methods, and cultural spaces).
Including various manifestations of traditional culture."
2) Characteristics and value of intangible cultural heritage
Academic circles have summarized many characteristics of intangible cultural heritage.
Most works believe that intangible cultural heritage has two major attributes: "vitality" and "inheritance".
This is also the core of intangible cultural heritage protection.
Other characteristics that are mentioned more often include "intangible" and "rheology".
"Introduction to Intangible Cultural Heritage" edited by Wang Wenzan summarizes seven characteristics of intangible cultural heritage: uniqueness, vitality, inheritance, rheology, comprehensiveness, nationality, and regionalism.
This summary has a great impact on other scholars 'understanding of intangible cultural heritage.
Song Junhua and Wang Kaitao's "Research on the Protection of Intangible Cultural Heritage" systematically explores the concept, characteristics, types, values, disciplines, and ecological theoretical issues of intangible cultural heritage from the perspective of cultural anthropology and ecology, and believes that intangible cultural heritage has inheritance, practicality, vitality, intangible, diversity and other characteristics.
In "Oral and Intangible Heritage of Humanity", Xiang Yunju summarized the characteristics of intangible cultural heritage as comprehensive, collective, inheritance and dissemination, national and regional, modeling and typology, variability, symbolism, etc.
Wang Jushan's "Introduction to Intangible Cultural Heritage" believes that intangible cultural heritage itself is immaterial, lively, national, regional, utilitarian, acceptable and non-isolated.
Among them, acceptability points out that intangible cultural heritage can be accepted by communities, groups and individuals, enhancing the group's sense of cultural identity.
Non-isolation means that intangible cultural heritage is closely related to the times and society.
Xiang Yunju also believes that intangible cultural heritage is a cultural heritage that is "people-oriented and people-oriented" in "Interpretation of Intangible Cultural Heritage".
From these perspectives, he explains that intangible cultural heritage has "intangible","behavioral","artificial" and "intangible" characteristics.
Cai Jingquan summarized the characteristics of intangible cultural heritage in his "Study of Cultural Heritage" as: vitality, originality, inheritance, and variability.
He proposed for the first time that intangible cultural heritage has entertainment, and entertainment is the driving force for the lasting inheritance of intangible cultural heritage, which can make people feel It is entertaining and refreshing.
"Introduction to Intangible Cultural Heritage" believes that intangible cultural heritage has vitality and spiritual inheritance, folk and social nature, life and emotion, ecology and aesthetics, originality and diversity, tradition and representativeness, uniqueness.
Sex and harmony.
In his "Research on the Legal Protection of Intangible Cultural Heritage in my Country", Zhao Fang summarized that intangible cultural heritage has two major characteristics: natural and legal.
The natural characteristics include immateriality, vitality, inheritance, rheology, interest, and nationality., regional, legal characteristics include the intangible nature of the object, the group nature of the rights subject, and the uncertainty of the nature of the rights.
Among them, the interest is interpreted by the author as the property interests and personality interests that the intangible cultural heritage owners should have.
Through comparative research on cultural heritage and intangible cultural heritage,"Protection of Intangible Cultural Heritage and Development of Cultural Industry" finds that the two share historical, scientific and artistic nature.
Intangible cultural heritage is unique to its vitality, ecology, inheritance and variability.
Scholars generally agree that intangible cultural heritage is a cultural matter that was created and passed down by ancestors and still has rich value to this day.
The value of intangible cultural heritage also determines the necessity of protecting intangible cultural heritage.
However, the decline of some cultural heritage is a necessity, the main reason is the loss of social value and function.
"Introduction to Intangible Cultural Heritage" compiled by Wang Zhuan summarizes the value of intangible cultural heritage into historical value, cultural value, spiritual value, scientific value, social harmony value, aesthetic value, practical value, educational value and economic value, and proposes intangible cultural heritage Economic value and cultural value are not opposed, and a win-win situation can be achieved for protection and utilization.
Peng Dongmei's "Research on the Digital Protection and Dissemination of Intangible Cultural Heritage: Taking Paper-cutting Art as an Example" believes that intangible cultural heritage has historical inheritance, cultural spirit, scientific understanding, artistic aesthetics, social harmony, economic development, social education, and scientific research value.
Qin Yeyin, who studies tourism, believes in "Introduction to Intangible Cultural Heritage" that intangible cultural heritage has general value and economic value.
Values such as scientific understanding, aesthetics, and social harmony are classified as general values.
Economic value mainly refers to economic development value.
From the practical perspective of intangible cultural heritage protection, Yuan Li and Gu Jun proposed in the "Must Read for Intangible Cultural Heritage Protection Cadres" that intangible cultural heritage has historical cognitive value and can correct history, prove history and supplement history.
Other values include artistic value, cultural value, etc., and believe that the better the intangible cultural heritage, the larger the time span, the greater the information carrying capacity, the higher the original degree, the higher the popularity, the more personality, and the less the stock, the more valuable it will be.
In "Research on the Protection of Intangible Cultural Heritage", Song Junhua and Wang Kaitao divided intangible cultural heritage into four categories: oral, physical, spiritual, and comprehensive based on the existence and inheritance of intangible cultural heritage, and proposed that intangible cultural heritage has memory, inheritance, aesthetic, genetic, academic and economic value.
In short, scholars explore the value of intangible cultural heritage from different research perspectives and positions, but it is difficult to reach a completely unified understanding.
However, from these proposed intangible cultural heritage values, we can see the two attributes of intangible cultural heritage-they can be used and urgently needed for protection.
3) Construction of intangible cultural heritage and its connection with other disciplines
Academic circles have long started discussions on whether intangible cultural heritage can become an independent discipline.
Xiang Yunju's "Doctoral Course of Intangible Cultural Heritage" is the result of teaching for doctoral students on intangible cultural heritage.
Feng Jicai praised him for "providing in-depth theoretical exposition of intangible cultural heritage from the aspects and perspectives of philosophy, aesthetics, methodology, and ontology." Exposition and expand, investigate its theory and essence, many aspects of which are extremely innovative, logically compact and interrelated, and have formed a deep framework for heritage studies." Of course, building a new discipline is a long road.
In addition to using, accepting and digesting Western academic theories, it also requires the independent thinking of China scholars.
Therefore, the author believes in this book that the construction of China's "Intangible Cultural Heritage Science" still requires more academic knowledge accumulation.
Yuan Li stated at the beginning of "The Study of Intangible Cultural Heritage" that China already has the conditions to create "Intangible Cultural Heritage Science." The "Intangible Cultural Heritage Science" that has emerged in China is a local science created by absorbing foreign experience.
In his other book,"Must Read for Intangible Cultural Heritage Protection Cadres", he further explained the "Intangible Cultural Heritage Science" and proposed that "Intangible Cultural Heritage Science is a discipline specializing in the production, inheritance and protection of intangible cultural heritage." The science of laws." The core of this subject involves three levels: "what is intangible cultural heritage","why protect intangible cultural heritage" and "how to protect intangible cultural heritage".
In Yuan Li's view,"Intangible Cultural Heritage Science" is a study of protection, while Song Junhua and Wang Kaitao believe that "Intangible Cultural Heritage Science" should not only be a study on intangible cultural heritage research, but should also be a study of disciplines.
They proposed in "Research on the Protection of Intangible Cultural Heritage" that "Intangible Cultural Heritage Science" should be theoretical, systematic and professional.
As a new discipline of "Intangible Cultural Heritage Science", the creation of the research theory he carried out is also inseparable from anthropology.
Support from other disciplines such as folklore.
As scholars in intangible cultural heritage research, most people have other academic identities.
They may be folklore scholars, anthropologists, or they may be proficient in sociology or other disciplines.
From the content of the research on intangible cultural heritage academic monographs currently published, it is not difficult to see that most scholars will still interpret and interpret intangible cultural heritage from the subject fields they are familiar with.
For example, the "cultural consciousness" proposed by anthropologist Fei Xiaotong has been transferred to intangible cultural heritage protection.
Awakening the cultural consciousness of the whole people has become the fundamental way to solve the current situation of intangible cultural heritage endangered.
Fang Lili regards "cultural consciousness" as the key word in the book "Protection of Intangible Cultural Heritage" from the Perspective of "Cultural Consciousness".
Through anthropologists 'investigation and practice, she points out to us that to do a good job in cultural protection, we must first pay attention to our own culture, and the protection or research of intangible cultural heritage should start with cultural consciousness.
Fan Chuangeng, author of the book "Protection and Utilization of Xinjiang Cultural Heritage", is a researcher in ethnology.
He takes Xinjiang's cultural heritage as his research object.
In the last three chapters, the author uses the theory of ethnology to conduct a study of Xinjiang's intangible cultural heritage.
Analysis of history, art, culture, folk customs and other values, and put forward countermeasures on how to better protect Xinjiang's intangible cultural heritage.
Folklorist Wu Bingan's "Theory and Methods for the Protection of Intangible Cultural Heritage" explains the origin and development of intangible cultural heritage and the guiding principles, methods and precautions for intangible cultural heritage fieldwork.
It provides a detailed explanation of the development, classification and concepts of cultural heritage from the perspective of folk cultural heritage rescue projects.
The "Inheritance of Intangible Cultural Heritage and Research on Art Anthropology" jointly completed by China Art Anthropology Society and Inner Mongolia University views the protection and research of intangible cultural heritage from the perspective of folklore research and art anthropology.
They migrate the theory and practical experience of folklore to the protection of intangible cultural heritage.
"Introduction to the Protection of Musical Intangible Cultural Heritage" compiled by Li Aizhen and Wu Yuehua, who have experience in studying and teaching musicology, is a theoretical work that explains in detail how to protect musical intangible cultural heritage.
This book believes that musical intangible cultural heritage and ethnomusicology have similarities.
The main difference lies in the different research perspectives.
The former perspective uses various theories such as anthropology, ethnology, and culturology to study and apply, while the latter focuses on the protection of traditional music.
Musical intangible cultural heritage is actually the folk and essence of traditional music culture.
Regarding the connection between intangible cultural heritage and various disciplines, Song Junhua and Wang Kaitao put forward their views in "Research on the Protection of Intangible Cultural Heritage" and made a good explanation.
They believed that "the intangible cultural heritage defined by international conventions has always belonged to traditional disciplines such as folklore, anthropology, literature, dance, musicology, art, medicine, and history.
When the intangible cultural heritage movement began, naturally, the first ones attracted to participate in them were scholars in these subject fields." Therefore, some scholars strongly agree with the influence of other disciplines, especially folklore and anthropology, on the creation of academic theories of intangible cultural heritage.
For example, in "Interpreting Intangible Cultural Heritage", Xiang Yunju believes that the academic concepts of intangible cultural heritage mainly come from anthropology, folklore, art, aesthetics, the most basic, model, and intrinsic culture is folklore, and intangible cultural heritage is deeply learned from the field survey methods of folklore and anthropology.
As the "Intangible Cultural Heritage Science" we are building, it is a multi-disciplinary integration and intersection of disciplines.
Scholars build the strengths of the disciplines in the theoretical creation of intangible cultural heritage.
3.
Questions and support from those who learn from intangible cultural heritage protection
The government is the main body of intangible cultural heritage protection, the people, including inheritors, are an important part of intangible cultural heritage protection, and scholars are the third force in intangible cultural heritage protection.
The position of scholars determines that their views are more neutral and their minds are clearer.
Sometimes, as experts behind intangible cultural heritage projects, they are the first to discover problems in intangible cultural heritage protection and issue criticisms and suggestions.Qiao Xiaoguang believes in "Living Culture: A Preliminary Study of China's Intangible Cultural Heritage" that although China is a country with intangible cultural heritage resources, the current status quo of intangible cultural heritage protection is not optimistic: intangible cultural heritage disappears rapidly, society has insufficient understanding of intangible cultural heritage, inheritance channels are not smooth, the government lacks evaluation of the value of intangible cultural heritage, and folk tourism seriously destroys folk art heritage, causing difficulties in intangible cultural heritage.
"Theory and Methods for the Protection of National Intangible Cultural Heritage in Yunnan" summarizes the problems arising from the protection of intangible cultural heritage in Yunnan: The first is that there is no in-depth and comprehensive understanding of intangible cultural heritage.
The second is that intangible cultural heritage protection institutions at all levels have not been established.
The third is that the generation of intangible cultural heritage inheritors and the selection, funding and training of young inheritors have not been well resolved.
The fourth is that the census is not in-depth and development and utilization are unscientific.
The fifth is that the law is not sound.
The sixth is that protection funds are insufficient.
The seventh is that theory is lagging behind practice and academic institutions and researchers fail to play their due role.
"Retain the Roots: Forerunner Thoughts on the Protection of Intangible Cultural Heritage in Zhejiang Province" believes that the main reasons for the severe problem of intangible cultural heritage protection are: constructive destruction; changes in modern life; the continuous death of old artists; the loss of precious objects and materials; and improper development.
"Urban Development and Inheritance of Intangible Cultural Heritage" points out from the perspective of cultural ecology that intangible cultural heritage still has significance in contemporary social life, but there are signs of attaching importance to cities and neglecting rural areas in specific intangible cultural heritage protection.
The discussion of how to protect intangible cultural heritage and properly handle the relationship between protection and utilization has been mentioned in many published intangible cultural heritage works.
Some scholars believe that incorporating intangible cultural heritage into the development of cultural industries can achieve self-generation of intangible cultural heritage protection.
For example,"Intangible Cultural Heritage Protection and Local Experience" focuses on the protection and development of intangible cultural heritage, and believes that incorporating intangible cultural heritage into the development of tourism can preserve and restore some intangible cultural heritage that is about to be lost or interrupted.
"Protection of Intangible Cultural Heritage and Development of Cultural Industries" believes that the division of labor in intangible cultural heritage protection is unclear, and it is difficult to complete protection solely by relying on the state.
It can rely on the market, but it is necessary to standardize the industrialization protection model of intangible cultural heritage, establish an evaluation system, market access system, and strengthen Legal construction, etc.
From the perspective of industrialization,"Research on the Industrialization of Dong 'e E-jiao Production Skills: Based on the Perspective of Intangible Cultural Heritage" believes that "industrialization is a way and means to protect and inherit intangible cultural heritage, and the smooth progress of protection and inheritance is the main purpose of industrialization." Faced with the crisis of industrialization, some scholars have also seen the disadvantages and proposed that there should be regulations and restrictions on the use of intangible cultural heritage.
Xiang Yunju's "Interpretation of Intangible Cultural Heritage" saw that there are many types of intangible cultural heritage, and industrialization cannot be equated with marketization and industrialization.
Industrialization is only a means of intangible cultural heritage protection, but it is not a universal means, and not all intangible cultural heritage are applicable.
In his book "Intangible Cultural Heritage: A Common Stage for Scholars and Government", Chen Huawen believes that productive protection is proposed based on the vitality and productivity of intangible cultural heritage, but excessive development and commercialization should be avoided in productive protection., industrialization and tourism.
Cultural awareness of protecting intangible cultural heritage has emerged among scholars, but specific and scientific protection practices are still being explored.
The author of "Retaining the Roots: Foremost Thoughts on the Protection of Intangible Cultural Heritage in Zhejiang Province" starts from his many years of experience in intangible cultural heritage protection and proposes ten measures to address the current problems in intangible cultural heritage protection: collection protection, project protection, inheritor protection, display protection, folk museum protection, ecological protection, productive protection, scientific research protection, institutionalized protection, and national protection.
Xiang Yunju proposed measures to protect intangible cultural heritage in "Interpretation of Intangible Cultural Heritage", including rescuing ancient villages, rescuing inheritors, and publishing intangible cultural heritage works.
These measures profoundly reflect the author's protection of "intangible cultural heritage is endangered, and rescue is urgent" Awareness, which is also a manifestation of scholars 'cultural consciousness.
Yuan Li and Gu Jun believe that the biggest problem facing the protection of intangible cultural heritage in China is the issue of protection concepts.
Therefore, they clearly stated in their "Must Read for Intangible Cultural Heritage Protection Cadres" that the correct concept of intangible cultural heritage protection plays an important role in grassroots intangible cultural heritage protection personnel.
Intangible cultural heritage protection is a complex system with particularity of protection."Keeping the pulse of culture: Research on the particularity of intangible cultural heritage protection" carries out academic analysis on this particularity, and thinks that intangible cultural heritage protection is a complex and changeable living protection.
Because intangible cultural heritage is all-inclusive, the same intangible cultural heritage project also has differences due to different living conditions and regions, so it cannot be involved in protection in a single universal and standardized way.
Therefore, many scholars have also put forward the idea of holistic protection.
For example, Wang Wen first defined the concept of holistic protection in Introduction to Intangible Cultural Heritage, saying that "all contents and forms owned by cultural heritage should be protected, including inheritance and ecological environment." Of course, as an important part of intangible cultural heritage protection, the study of inheritors should become the focus of current intangible cultural heritage research.
Liu Xicheng pays attention to non-genetic inheritors in Intangible Cultural Heritage: Theory and Practice.
He emphasizes the importance of non-genetic inheritance in his book and thinks that "non-genetic evolution depends on inheritance and continuation".
In the past, he paid attention to the declaration of intangible cultural heritage projects and neglected the protection of inheritors.
In the future, we should pay attention to the investigation and identification of inheritors.
The investigation of the oral history of inheritors is the first step in carrying out research on intangible cultural heritage.
Recently, some books on the investigation of the oral history of inheritors have been published, such as "Oral History of the Inheritors of Intangible Cultural Heritage in Beijing: Tang Miansu·Tang Suguo","Collection of Oral Archives of the Inheritors of National Intangible Cultural Heritage in Zhejiang Province","New Year Pictures Family: Oral History of New Year Painting Inheritor Tai Liping "and" Oral History of Inheritor of Intangible Cultural Heritage in Chengdu City ", etc.
The publication of these works is of great significance for recording and archiving intangible cultural heritage, but judging from the current situation, there is still a lack of an in-depth book on inheritors research.
With the development of society, we have also entered the creative era and the digital era.
Some scholars combine the characteristics of the times to create new perspectives for the study of intangible cultural heritage.
"Cultural Creativity and Intangible Cultural Heritage Protection" is the result of Ma Zhiyao's research on intangible cultural heritage from the perspective of cultural creativity.
He believes that cultural creativity and intangible cultural heritage protection are not a simple meeting of popular words and hot words.
Through academic research on the four major folklore of China, unicorn culture, peach culture, and folk field surveys of the Tibetan tigers in North China, the author explains that the combination of cultural creativity and intangible cultural heritage protection is more important to the application of creative theory to intangible cultural heritage protection.
In terms of ideas, means, and publicity and promotion after rescue, once creative thinking is applied to specific intangible cultural heritage production and recreating intangible cultural heritage, it is a disaster for the intangible cultural heritage itself.
With the development of computer technology, the Internet has extended to every corner of daily life and production.
The introduction of intangible cultural heritage protection with digital technology is a requirement that adapts to the times.
The concept of "Internet +" was proposed in 2015, which will surely make digital protection of intangible cultural heritage a new topic.
The so-called digital protection of intangible cultural heritage refers to the establishment of an overall comprehensive system including collection, processing, dissemination and sharing in specific intangible cultural heritage protection.
The ultimate goal is to establish a digital museum of intangible cultural heritage and realize the results of intangible cultural heritage protection through networking.
Shared by all people.
Currently published theoretical works on the digital protection of intangible cultural heritage include "Digitization of National Cultural Heritage","Digital Protection: A New Way for the Protection of Intangible Cultural Heritage","Research on the Digitization of Intangible Cultural Heritage" and "Digital Protection and Communication of Intangible Cultural Heritage".
Research: Taking Paper-cutting Art as an Example ".
Among them,"Research on the Digital Protection and Dissemination of Intangible Cultural Heritage: Taking Paper-cutting Art as an Example" first proposed "Information Perspective: Digital Theory of Intangible Cultural Heritage Protection" at the theoretical level of intangible cultural heritage protection.
"Research on the Digitalization of Intangible Cultural Heritage" analyzes the necessity of scientific management of intangible cultural heritage and construction of intangible cultural heritage databases in the context of the big data era, and for the first time proposes a "two-layer quartering method" for the classification of intangible cultural heritage items.
conclusion
Since the protection of intangible cultural heritage has become a cultural hotspot, research on intangible cultural heritage has become the focus of attention of the government and academic circles.
Related intangible cultural heritage works have mushroomed and flourished.
The currently published intangible cultural heritage works can be divided into academic and non-academic categories.
The non-academic category focuses on two aspects, including the subjects of intangible cultural heritage protection-the display of intangible cultural heritage protection results published by intangible cultural heritage protection departments at all levels and the popularization of intangible cultural heritage introductions published by academic groups or individuals.
Academic works cover a wide range of topics, mainly involving theoretical research on intangible cultural heritage, current status quo of intangible cultural heritage, and research on intangible cultural heritage protection measures.
Among them, scholars also use anthropological, folklore, and sociology methods to conduct in-depth analysis of a specific intangible cultural heritage project.
Over the past ten years, intangible cultural heritage research has shown a trend from macro to micro, and many scholars are also working hard to establish an "intangible cultural heritage science." Judging from the quantity and quality of intangible cultural heritage works currently published, intangible cultural heritage works by national level and experts and scholars are relatively systematic and complete, and most of the works published by local intangible cultural heritage protection departments remain at the stage of scientific popularization, which shows that the cultural awareness of intangible cultural heritage protection is taking shape.
An intangible cultural heritage protection system at the theoretical level has been established, and the academic community has completed the evolution and development of the concept of intangible cultural heritage, the value and characteristics of intangible cultural heritage, and the localization of intangible cultural heritage knowledge.
However, there is still a lack of specific and practical applied theories in academic research, let alone In-depth research monographs on intangible cultural heritage inheritors.
In the future, the focus of research on intangible cultural heritage protection should shift from macro theory to micro practice as soon as possible, from the study of objects to the study of people, and from the study of forms to the study of cultural cores.
As scholars of intangible cultural heritage research, they are also an important part of intangible cultural heritage protection.
In addition to making contributions to discipline construction, they should also shoulder the responsibilities of public intellectuals and dare to discover and criticize problems that occur in the protection and utilization of intangible cultural heritage., through appeals, actions and writing, awaken more people's cultural consciousness.
(This article was published in "Journal of Guizhou University Art Edition", No.
4, 2018.
The annotations are omitted, for details, please refer to the original issue)