[Liu Xiaochun and Leng Jianbo] Practice and Thinking on Productive Protection of "Intangible Cultural Heritage"

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To: With the development of the protection of productive methods, the protection awareness and cultural consciousness of the inheritors have been enhanced, relevant enterprises have achieved obvious economic benefits, and their living conditions have also been improved.

The protection and training of inheritors have received further attention.

Participants 'awareness of transformation and innovation have been continuously improved, new progress has been made in market development, and appropriate mechanization in the production process is conducive to the protection of intangible cultural heritage; At the same time, there are also the following problems: the objects of protection need to be further clarified, modern production has a significant impact on traditional crafts, the raw material crisis has begun to appear, the gap of outstanding talents is serious, the government lacks specific and effective measures, and insufficient support.

Despite this, productive protection is worth advocating from the intrinsic nature of traditional handicrafts and the external living conditions; however, productive protection is not the same as industrialization, and issues such as authenticity, integrity, inheritance and innovation need to be properly handled.

Keywords: "intangible cultural heritage"; productive protection; inheritors; core skills

Raising questions

In the specific practice of "intangible cultural heritage" protection, China has successively formed rescue protection, overall protection, legislative protection, and productive protection proposed in recent years.

Driven by relevant departments, productive protection has quickly become a trend in the field of "intangible cultural heritage" protection, attracting widespread attention from all walks of life.

"Productive protection can not only benefit the people and enrich the people, but also enhance the 'blood-forming function' of the protection work itself, enhance the vitality and influence of intangible cultural heritage, and promote it to the whole country and the world." Objectively speaking, among the many current "intangible cultural heritage" protection measures and concepts in China, productive protection may indeed be the most effective way to stimulate the enthusiasm and initiative of inheritors, inheritors and governments at all levels.

The protection method, which has been proved by the response and rapid implementation of all parties once the concept was proposed.

However, due to the special cultural ecology of the emergence and existence of "intangible cultural heritage", due to the uniqueness and complexity of "intangible cultural heritage" itself, even if we already have authoritative definitions, specific requirements and clear applicable categories, we must still be very cautious in the process of implementation.

Why on earth should we implement productive protection? Will productive protection damage the true form of "intangible cultural heritage"? Is productive protection equal to "industrialization"? How to truly realize the unity of "production" and "protection" in productive protection? The best way to answer these questions is for us to go to the front line of protection and find answers through in-depth field research.

In view of this, this paper carries out specific practices of productive protection through nine cases including Chaozhou wood carving, Guangxi Zhuang brocade and Anhui rice paper.

On the basis of summarizing their successes and failures, we discuss and analyze the main issues faced by "intangible cultural heritage" productive protection theoretically, in order to provide useful thinking for China's "intangible cultural heritage" productive protection projects.

Practice of fieldwork

The field survey cases based on this paper are all national-level intangible cultural heritage projects, from seven provinces (regions) of Zhejiang, Guangdong, Guangxi, Hunan, Shandong, Shanxi and Anhui.

Among them, Dongyang Wood Carving, Qingtian Stone Carving, Guangxi Zhuang Brocade, Xiangxi Tujia Brocade, Shanxi Old Vinegar and Anhui Rice Paper were selected as the first batch of "National Intangible Cultural Heritage Productive Protection Demonstration Base" projects; Yangjiabu New Year paintings were selected into the first batch of "Demonstration Bases for Productive Protection of Intangible Cultural Heritage" projects in Shandong Province.

The "intangible cultural heritage" categories to which the case belongs include both traditional handicrafts, traditional art and traditional diet.

It can be said to be relatively broadly representative.

The current situation of their productive protection can basically reflect the current "intangible cultural heritage" in China.

Overall situation of productive protection.

Achievements and experience

Through field surveys, we believe that the results achieved by the implementation of productive protection of traditional handicrafts are generally positive.

The protection awareness and cultural consciousness of the inheritance subject have been enhanced

Whether it is a large-scale company, factory, or a smaller-scale workshop or research institute, the "intangible cultural heritage" projects in the case have basically achieved enterprise-oriented production.

The characteristics of enterprise-oriented production are the pursuit of profits and focus on efficiency.

As time goes by and market competition intensifies, inheritors (mostly producers) will inevitably loosen their adherence to their traditional skills and grasp of cultural connotations.

The concept of productive protection was put forward at the right time.

While they were engaged in production, they added a responsibility and consciousness to protect and inherit culture.

Gu Liuxi, founder and representative inheritor of Chaozhou Yipa Wood Carving Factory, believes that being awarded the title of a demonstration base for productive protection is "both an honor and a warning." In interviews, he mentioned many times that "without productive protection, Chaozhou wood carvings can still develop well, but not in such a responsible way as it is today." The survey found that the art flower wood carving factory, which was awarded the production protection demonstration base, is obviously different from other wood carving workshops in terms of business strategy, products, publicity, sales channels, etc., and embodies a kind of "cultural consciousness" everywhere.

Li Cunling, director of Jingxi Zhuang Brocade Factory, also mentioned: "Ordinary brocade workers in the production workshop used to be more concerned about weaving more brocade and making more money.

They also hoped that the company would have good benefits and give them a raise.

As for protection or not, they didn't care much, but now it's different."

Obvious economic benefits and improved living environment

Promoting survival through protection and driving protection through production are the main starting points for carrying out productive protection.

Through the implementation of relevant measures, the traditional production process can be continued and products are continuously introduced to the market.

The economic benefits produced are very obvious, especially for those "intangible cultural heritage" whose production is unsustainable for various reasons and face a crisis of inheritance.

Say, it is a huge help.

As the largest Zhuang brocade weaving factory in Guangxi, Jingxi Zhuang Brocade Factory was once on the verge of bankruptcy.

After adopting productive protection measures, with the support of relevant departments, production gradually got on the right track and gradually established a brand image.

Yangjiabu's wooden board New Year paintings were once on the verge of extinction due to the loss of their original functions.

However, after the implementation of productive protection this year, a gratifying situation has also emerged."There are many people in the village with annual incomes reaching hundreds of thousands, or even millions.

The number of people learning New Year paintings in Yangjiabu Village is rapidly increasing at a rate of 300 to 400 every year." "Donghu Meiheju", one of the representatives of Shanxi's mature vinegar, established a "vinegar circle" produced strictly in accordance with traditional old craftsmanship during the process of implementing productive protection.

Although the price of the mature vinegar it produces is as high as 75 yuan/catty, it is more than 20 times higher than that on the market, but the supply is still in short supply and good benefits have been achieved.

The protection and cultivation of inheritors receive further attention

The survey found that in the practice of productive protection of "intangible cultural heritage" such as traditional skills and traditional art, the inheritors are often both the inheritors of traditional skills and the organizers of project production; they are both the guardians of the intrinsic value of "intangible cultural heritage", and are also marketers in the market.

It can be said that the effectiveness of productive protection has the most direct and close connection with the inheritors.

Therefore, carrying out productive protection encourages all parties to pay more attention to the protection and cultivation of inheritors, so that their social status continues to improve.

The inheritors of Guangzhou jade carvings, Tujia brocade, etc.

have received additional financial subsidies from local governments and regained the respect of society.

During the investigation of Zhuang brocade, investigators found that after adopting "productive protection measures, more attention was paid to the cultivation of inheritors of brocade techniques.

The protection and cultivation of inheritors of brocade techniques were not only put on the work agenda of government departments, but also the Zhuang brocade factory has also strengthened internal efforts, such as setting up special funds for cultivating inheritors, regularly sending inheritors to participate in advanced training courses for inheritors, etc." Inheritors of rice paper at all levels have become valuable resources for high-priced competition among major papermaking companies.

Participants 'awareness of transformation and innovation continues to improve, and new progress has been made in market development.

In the process of carrying out productive protection, inheritors bring traditional daily necessities, handicrafts, and art to the market and accept market competition and inspection, which will inevitably prompt them to continuously seek transformation in terms of themes, shapes, materials, craftsmanship, etc.

and innovation.

At the same time, in order to continue production, market development has become the top priority, and many new marketing methods continue to emerge.

Production of Guangxi Zhuang Brocade, Tujia Brocade and Yangjiabu Wood New Year Pictures was once interrupted due to the loss of their original original functions.

After the implementation of productive protection, the situation has mostly improved, and this improvement has benefited from timely transformation and continuous innovation.

Taking Zhuang Brocade as an example,"In the past, most of the products were mainly practical, with single varieties and old patterns.

After adopting productive protection measures, in order to promote the better inheritance and development of Zhuang brocade skills, Zhuang brocade product development is more oriented to market demand."

Although Chaozhou wood carvings, Dongyang wood carvings, Qingtian stone carvings, Anhui rice paper, etc.

are living in good condition, this is also inseparable from their efforts to be close to the market and continue to innovate.

As Gu Liuxi (founder and chief designer of Chaozhou Yifa Wood Carving Factory) said: "There is a reason why the products of the wood carving factory are in short supply, because I understand society, see society's needs and people's acceptance ability, and understand the market.

Only then can I produce with eyesight."

In addition, due to the enhancement of market concepts, inheritors and producers 'previous sales concepts of "sitting at home and waiting for consumption" have been significantly improved.

They have begun to take the initiative in market development, and have continued to introduce new methods and methods.

Shanxi mature vinegar cooperated with tourism companies to develop industrial tourism and folk experience tours; Yangjiabu's wooden board New Year paintings opened up the national and even international markets by opening an online store; Anhui rice paper boldly adjusted its product structure and developed commemorative rice paper, Expo rice paper, and high-end new products such as five-color stationery have expanded the application field of rice paper.

These changes are all driven by productive protection.

Proper mechanization may not be so scary

Will carrying out productive protection promote modern production methods such as mechanization to further replace traditional crafts such as manual labor? This is an important issue that worries all sectors of society the most but cannot be avoided.

But the practice of fieldwork shows us that maybe the problem is not that serious.

During the interview, many inheritors repeatedly mentioned that machinery can only play a supporting role in their production process, that is, they can only "do rough work" and cannot carry out practical operations of the "details" that best reflect the skills and value.

Gu Liuxi, the inheritor of Chaozhou wood carving, said: "To protect 'intangible cultural heritage' and make an industry, we cannot rely on one product at a time.

As long as the cultural heritage of the entire industry is sufficient, it is necessary to rely on some mass production to expand the industry, achieve industrialization, and achieve the goal of developing and protecting 'intangible cultural heritage.'"

In interviews with Guangzhou jade carvings and Qingtian stone carvings, inheritors also mentioned many times that because of the use of machinery, many materials that were originally unusable were used, the creative themes were expanded, and Zeng celebrated his artistic taste.

"The effect and quality are basically the same as those of the previous handmade ones, and even now they are better than the previous ones.

Previous handicrafts, such as hard stones, could not be made.

Now we can use machines for the harder parts." Therefore, we should treat the issue of mechanization dialectically based on the actual situation.

(2) Main problems

Through in-depth investigation of these cases, we see that the results achieved are gratifying, but the existing problems are also not optimistic.

Due to the deviation between theoretical guidance and specific practice, the inherent contradiction between "production","development" and "protection","intangible cultural heritage" protection as cultural undertakings, and "production" and "development" for the purpose of economic benefits, they have different demands; and due to the different inheritance methods of "intangible cultural heritage" projects and the unbalanced "productive" foundation, various problems will inevitably arise during the implementation of productive protection.

Protection objects need to be clarified

Through case investigations, we found that there are obvious differences in the implementation effect of productive protection.

Is the reason for this difference the difference in implementation methods and intensity, or the particularity of the project itself? In our opinion, it is mainly the latter.

Therefore, we must think about which projects in the prescribed categories really need to implement productive protection? Or should we focus on the process of implementing productive protection?

Before the implementation of productive protection, Dongyang wood carving, Chaozhou wood carving, Qingtian stone carving, Shanxi mature vinegar and Anhui rice paper themselves had no obvious survival and development problems.

Their "production" has a tradition of hundreds or even thousands of years., it can be said to have great vitality.

Therefore, their productive protection should mainly emphasize the "protection" of core skills rather than the continued "production".

For projects such as Tujia brocade and Guangxi Zhuang brocade that are facing serious inheritance crises, in the process of emphasizing productive protection, we should first find ways to create conditions to realize their "production".

If "production" cannot be achieved, it will be impossible to achieve the purpose of "protection".

In addition, the survey of Guangzhou jade carvings and rice paper shows that even when faced with the same project, there are still great differences within them.

Productive protection cannot be used in general terms.

In order to meet market demand, Guangzhou jade carvings have emerged in the development of high-end (A goods) and low-end (B goods), that is, the difference between fine art works and ordinary jewelry.

Driven by interests, ordinary jewelry uses inferior raw materials and has gained broad market prospects through industrial mass production, and its survival is not a problem at all.

However, the fine jade carvings that the inheritors have worked hard and spent years or even decades of hard work are often not recognized by the market, resulting in fewer and fewer inheritors engaged in fine creation.

It is obvious that these are the ones that really need protection.

Modern production has a significant impact on traditional craftsmanship

Although appropriate institutionalization has a limited impact on protected objects as a whole, it does not mean denying the impact of modern production on traditional handicrafts.

In fact, through investigation, it was found that this impact was very obvious.

In the investigation of nine cases, we saw the presence of modern machinery or modern craftsmanship without exception.

Some existed decades ago, and some only appeared in recent years.

It is undeniable that these modern machinery and crafts have greatly facilitated production, but due to the significant reduction in manual labor attached to them, their cultural connotation and value attributes have changed to a certain extent.

Although Jingxi Zhuang Brocade Factory has always adhered to "pure handwork", it has also begun to use modern machinery such as electric winding machines and yarn drawing machines during the production process."The woven Zhuang brocade has no longer the sense of familiarity with traditional Zhuang brocade.

It is slightly thin." In interviews with "Laifu Vinegar Industry" and "Donghu Meiheju Vinegar Industry", producers also admitted that only those brewed entirely using traditional craftsmanship are "Shanxi mature vinegar", but at the operational level, what they really insist on is very small.

In the case of rice paper, investigators found that the vast majority of local paper-making enterprises in Jingxian widely use modern machinery and processes such as dryers, paper mills and bleaching agents.

The rice paper produced is far from the rice paper produced by traditional processes in terms of inking properties, stability, and durability, which has led to the lament that "good paper is hard to find." In the investigation of Dongyang wood carving, Chaozhou wood carving, Qingtian stone carving, and Guangzhou jade carving, we also saw the use of a large number of modern machinery.

The inheritors also admitted that the products mainly produced in batches with machines are of lower quality.

To meet the general tourism market and mass consumer market.Therefore, we see that the impact of modern production methods on the "intangible cultural heritage" of traditional skills and art is obvious.

Whether to adhere to tradition or cater to the market seems to be an unsolvable problem.

The raw materials crisis begins to emerge

Raw materials are the basis of production.

Without raw materials, production cannot continue.

Using alternative raw materials will inevitably damage the true appearance of "intangible cultural heritage".

With the advancement of productive protection and the expansion of production, the raw material crisis has become increasingly obvious, which deserves our high vigilance.

Green sandalwood bark and Shatian straw produced in Jingxian, Anhui Province are key raw materials for making rice paper.

However, with the expansion of output, green sandalwood bark has become increasingly scarce.

According to statistics,"For Jingxian alone, the annual demand for sandalwood bark can only meet about 70% of the annual papermaking needs." During an investigation of Yangjiabu's wooden board New Year paintings, it was found that wild pear wood and tang pear wood, which were originally most suitable for engraving, had disappeared locally, and the price of ordinary pear wood had soared due to the increasing shortage.

Whether or not to use local "pyrophyllite" is an important factor in measuring the artistic value and market value of Qingtian stone carving.

However, with the expansion of output, the investigation found that Qingtian has now experienced a serious "stone shortage", and stone carving artists have no choice but to use large quantities of stone from other places and even import stone from abroad.

In addition, Tujia brocade and Guangxi Zhuang brocade also abandoned the use of silk because of the rarity and expensive nature.

It can be seen that the depletion of raw materials is another issue that is unavoidable in the process of productive protection, but at the same time must be paid enough attention.

There is a serious gap in outstanding talents

The aging of inheritors is a common problem in the protection of "intangible cultural heritage".

Field surveys found that the gap of outstanding talents in the field of productive protection is a very common phenomenon.

Taking Guangxi Zhuang Brocade as an example,"There are only a handful of inheritors and they are too old.

The heirs of the first to fifth generations have all retired and some have passed away.

The youngest remaining sixth and seventh generations are pitifully small, and they are all in their thirties.

Overall, the inheritors of Jingxi brocade are aging and lack of successors." Chaozhou wood carving is no exception."Chaozhou wood carving is a craft that consumes physical strength and brain power, has a long learning cycle, and has slow returns.

It is also facing the crisis of brain drain.

The younger generation is afraid of hardship and has not long-term vision.

It is attracted by the excitement of the colorful world but can't feel at ease, and most of them will choose a more relaxed way to work."

In addition, due to the economic interests such as commercial competition and trade secrets, some inheritors are reluctant to easily pass on their core skills to the next generation.

For example, the already endangered Tujia brocade,"most of which are old, and at the same time, they are worried that their meager income will be hit by competition, so there are not many people who actually teach their apprentices." Finally, some special inheritance systems have also restricted the cultivation of talents, such as the Tujia brocade's "passing on to women but not to men", and the previous rule that Zhuang brocade must be "celibate", etc.

These have affected the cultivation of inheritors and created a gap in outstanding talents.

The government lacks specific and effective measures and insufficient support

Due to the lack of specific implementation measures from the central government to local governments, the survey found that for some "intangible cultural heritage" projects whose living conditions are not optimistic, inheritors and producers generally reported that although the government has put forward the slogan of productive protection, the actual support is far from enough.

In field interviews, investigators mainly heard terms such as "industrialization","commercialization" and "cultural industry", while the term "productive protection" was generally unfamiliar to both inheritors and local "intangible cultural heritage" protection departments.

In addition, local governments have different understandings and acceptance of this concept, so we have seen great differences in the process of carrying out productive protection in various places.

The government not only supports Dongyang Wood Carving, Qingtian Stone Carving, Shanxi Old Vinegar, Anhui Rice Paper and other well-implemented projects in terms of credit, taxation, talent training, etc., but also formulates systematic medium-and long-term development plans; while Tujia Brocade, Guangzhou Jade Carving, etc.

have not yet seen a specific implementation plan, nor have they received sufficient financial support from the government.

Some inheritors reported that "in the past, in the planned economy era, every research institute had financial support, but now all projects are on their own." From the investigation of Chaozhou wood carving, we also saw that from cultivating apprentices, cooperating with vocational and technical schools to establishing a traditional handicraft research society, the inheritor Gu Liuxi has invested a lot of money and energy in Chaozhou wood carving and Chaozhou traditional handicrafts.

Most of the funds are borne by themselves, and the government subsidies are only a small amount.

Mr.

Gu Liuxi said: "I still bear a lot of pressure.

After all, there is limited what I can do with personal strength.

I hope the government can increase the intensity of publicity and appeals and provide more substantive policy support and financial assistance."

In short, through the above analysis, we can see that the results achieved through the implementation of productive protection are obvious, but the problems discovered should attract our attention.

The impact of modernization, the shortage of raw materials, and the gap in talents are all very realistic, urgent and thorny problems.

If it cannot be handled properly, it will inevitably affect the implementation effect and long-term development of productive protection.

Discussion and reflection on relevant theoretical issues

Implementing productive protection is a major initiative in China's "intangible cultural heritage" protection work.

It is a protection method proposed for the "productive" characteristics of some "intangible cultural heritage" intangible cultural heritage projects.

It is in line with UNESCO.

The spirit of "taking measures" and "revitalization" in the Convention for the Protection of Intangible Cultural Heritage is also in line with the provisions of "Reasonable Utilization" and "Development" in Article 37 of the Law of the People's Republic of China on Intangible Cultural Heritage.

However, due to long-standing conceptual differences in the field of "intangible cultural heritage" protection and the very deconstructive word "productivity", disputes in academic circles and society continue.

In order to understand the theoretical connotation of productive protection more comprehensively and objectively, it is necessary for us to analyze and discuss it again in conjunction with the practice of field surveys.

Why should productive protection be implemented?

Many scholars have specifically discussed the importance of implementing productive protection, but previous studies have not fully explained why productive protection should be implemented.

Through field surveys, we believe that there are at least the following reasons.

First of all, this is determined by the inherent attributes of "intangible cultural heritage" categories such as traditional skills and traditional art.

The "craft" of traditional handicrafts refers to the process of changing the form of certain materials by some or more means.

The "products" produced are necessary means of production or daily life and constitute the material foundation of people's lives.

From all aspects of food, clothing, housing and transportation, we meet the daily needs of the people.

Second, productive protection is needed when "production" is unsustainable.

With the changes of the times, environment, production and living conditions, and public aesthetic needs, the original "products" have lost their market, and the former "necessities" seem to have lost their value and significance in the present.

This is a problem that has been encountered by people such as Xiangxi Tujia brocade, Guangxi Zhuang brocade, and Yangjiabu New Year paintings.

Faced with such a severe situation, external forces become particularly important when they are unable to achieve metabolism for the time being based on their own strength.

Because once the inheritance that can only be achieved through "production" breaks, it may mean extinction for these "intangible cultural heritage".

When we rediscover their value and try to "resume production" them, it may be too late.

Therefore, it is necessary to implement productive protection to produce blood for them in a timely manner.

Third, projects that do not have survival problems also require productive protection.

The expansion of the market, the increase in production volume, and the expansion of economic benefits have caused the value of some projects that already have a good development foundation and prospects to rise further in the context of protecting "intangible cultural heritage".

The "profit-seeking nature" of capital has caused some inheritors and producers to give up or partially give up their adherence to tradition.

During the investigation, we saw that in order to expand production to meet market demand, Dongyang wood carving, Chaozhou wood carving, Qingtian stone carving, Shanxi old vinegar, Anhui rice paper, etc., the use of modern machinery has become more and more common in the production process, and complex traditional craft processes have been streamlined; Guangzhou jade carvings have developed machined "B goods", and there is a tendency to replace "A goods"; a large number of rice paper companies have replaced local Liao grass paddle boards produced in Henan, and have become a "secret" in the local industry.

Under such circumstances, it is obviously necessary to promote productive protection.

Inheritors and producers must realize that in addition to being used for "production", such "intangible cultural heritage" must also be protected, and "protection" is the ultimate goal, and protection is a responsibility and mission.

Therefore, whether it is from the intrinsic attributes of traditional handicrafts or the external living conditions, it is necessary to promote productive protection.

(2) Is productive protection industrialization?

Carrying out productive protection is by no means advocating "industrialization","commercialization" or "marketization".

This has become the consensus of most scholars and "intangible cultural heritage" protectors.

However, at the operational level, it is necessary to further clarify their essential differences based on the practice of field surveys.

First of all, whether it is "industrialization","commercialization" or "marketization", it means batch, scale, standardization and mechanization, which is obviously incompatible with the "uniqueness","differences" and "regions" that "intangible cultural heritage" should protect.

Characteristics such as "sex" and "craftsmanship" run counter to each other.

"Industrialization requires scale and standards, but cultural requirements have individuality, unique requirements, and differences in requirements." "Large-scale industrial production rejects differences.

It separates the natural unity of space and time in the human labor process and eliminates their respective limitations...

Standardization is the core technical force of large-scale industrial production methods.

It fundamentally excludes and strives to eliminate all 'cultural difference'." In contrast, productive protection emphasizes the maintenance of manual "core skills" and "traditional technological processes", emphasizes "differentiated" production, and scale is not its inevitable pursuit.

Secondly, productive protection takes "protection" as the ultimate goal,"production" is only a means, and industrialization aims at maximizing economic benefits.

Some scholars are concerned that promoting industrialization may cause fragmentation and differentiation among "intangible cultural heritage" projects.

From the case of Guangxi Zhuang Jin, we can gain a deeper understanding of this.

Zhuang brocade and hydrangea are two major traditional handicrafts in Jingxi County.

However, due to the large market demand and good prospects of hydrangea, it has been a key local development "cultural industry" for many years.

Although Zhuang brocade is a national "intangible cultural heritage", it has been neglected for a long time due to the shrinking market.

Even the factory building of Jingxi Zhuang brocade Factory was once mainly used to produce hydrangea.

It is conceivable that if we continue to advocate the industrialization of "intangible cultural heritage", driven by the market, Zhuang brocade will eventually be replaced by hydrangea.

With the implementation of productive protection, especially after Jingxi Zhuang Brocade Factory was awarded as a "National Demonstration Base for Productive Protection of Intangible Cultural Heritage", the fate of Zhuang Brocade has changed significantly.

This is obviously industrialization and production.

The difference in sexual protection.

Third, the industrialization of "intangible cultural heritage" may lead to predatory development and fragment the original laws of its inheritance and development.

Productive protection emphasizes maintaining its "authenticity","integrity" and "inheritance" as the core, and advocates long-term development.

We have already seen this problem in the investigation of Qingtian stone carvings.

Some practitioners have reported that the increasingly serious "stone shortage" in the local area is caused by the long-term transition of industrial development, resulting in the use of foreign raw materials, even foreign stone, to continue to maintain production.

Changes in raw materials will inevitably affect the integrity of the "intangible cultural heritage" of manual skills, and its inherent social and cultural value will be difficult to continue to be passed on.

Finally, the industrialization of some "intangible cultural heritage" may not be feasible at the actual operational level.

"Due to the different producibility attributes of each 'intangible cultural heritage' project, some are suitable for large-scale development, while some are not suitable at all." Different from general modern industries that pursue large-scale and collectivization, most of the production entities of productive protection projects are family workshops and individual and individual workers.

In the production process, it is mainly manual work or a combination of manual work and simple machinery, and corporate and professional production is unlikely to become mainstream in the process of productive protection.

(3) Productive protection and the authenticity and integrity of "intangible cultural heritage"

Although clear requirements have been made in the "Guiding Opinions of the Ministry of Culture on Strengthening the Productive Protection of Intangible Cultural Heritage" and Article 4 of the "Law of the People's Republic of China on the Protection of Intangible Cultural Heritage", whether carrying out productive protection will damage the authenticity and integrity of "intangible cultural heritage" still makes many scholars and protection subjects hold a "uneasy mentality and worry." Therefore, it is necessary to make further analysis and discussion based on the practice of field surveys.

Authenticity issues

"Authenticity", also known as "authenticity" or "authenticity", originally came from the field of "world heritage" and was a guideline proposed for the protection of material cultural heritage.

Later, it gradually expanded to the field of intangible cultural heritage.

It is widely accepted around the world.

With the advancement of "intangible cultural heritage" protection, more and more scholars have realized whether it is really appropriate to apply this standard originally used to describe material cultural heritage to intangible cultural heritage.

Moreover, the concept of "authenticity" itself remains controversial.

What is authenticity? In the field of folklore, according to German folklorist Regina Bendix,"The authenticity of folklore implies a search for authenticity.

Due to the diverse and difficult nature of this search, it is difficult for academic circles and society to reach a consensus.

This shows that the authenticity of intangible culture is a characteristic that cannot be clarified."

In addition, the "liveliness" inherent in "intangible cultural heritage" also makes the pursuit of "authenticity" likely just a beautiful "illusion." "Intangible cultural heritage" is especially the "intangible cultural heritage" of handicrafts.

It is closely related to people's production and life.

It is born, accumulated and passed down by the people in long-term social practice.

It is in eternal development with the changes of the natural environment, the process of social development and the changes of people's values.

"Authenticity cannot exist outside of specific time and space, nor can it be understood outside of people's value judgments on things." Taking Guangxi Zhuang Brocade as an example, the "old-fashioned" and thick "earthen flower bedding" really cannot meet the aesthetic and practical requirements of modern people.

If the inheritors do not choose to continue to innovate in raw materials and color themes, they will become endangered.

It is inevitable.

Through the implementation of productive protection, Zhuang brocade adhered to manual weaving in the main processes, retained the tradition in techniques and regained market favor.

However, the product form and theme have changed.

At this time, we cannot simply use "authenticity" to demand and judge Zhuang brocade.

Therefore, we "rather than determine the authenticity of intangible culture from a stagnant perspective, we should examine the authenticity of intangible culture from the perspective of development and change." Because "there are no folk customs such as living fossils of history in real life.

Only when people abandon the illusion of original ecology and view folk customs from the perspective of inheritance, change, and development can the folk customs that have become intangible cultural heritage truly have endless vitality."

Of course, it is undeniable that with the implementation of productive protection, the market-oriented nature of the "intangible heritage" of traditional handicraft skills has been enhanced.

In order to cater to the market, it is inevitable that damage to the "core skills" and "core values" will occur.

Nevertheless, we should not pay too much attention to their authenticity.As some scholars said: "A lot of our work focuses on emphasizing the value of the 'intangible cultural heritage' tradition, requiring inheritors to inherit the tradition and maintain the so-called 'original ecology', and using this as a measure of whether it is' qualified','authentic' and 'value'.

We use the recording and display of cultural' cross-sections 'to complete academic and administrative tasks, and disagree with the evolution of intangible cultural heritage in accordance with the times and the market, so it does not help' intangible cultural heritage 'find a way to revitalize.

On the contrary, it artificially prevents some 'intangible cultural heritage' from developing themselves through the national context." In short, to carry out productive protection, we must not give up food just because we are entangled in authenticity issues.

holistic problem

"Integrity" is another important principle in the protection of "intangible cultural heritage"."The so-called integrity means protecting all content and forms of cultural heritage, including the inheritors and the ecological environment." Through field surveys, we found that in the process of implementing productive protection, many inheritors became operators and managers at the same time; mechanical parts replaced manual labor; the attributes of the products also changed, and the "intangible cultural heritage" originally enjoyed only within the inheritors entered foreign markets.

Under such circumstances, we do have reason to suspect that productive protection undermines the integrity of "intangible cultural heritage".

As some scholars have said: "In the process of productive protection, on the surface, some forms of 'intangible cultural heritage' have been preserved, but the original ability of the inheritors from within the culture has disappeared and has become an artificial expression of pure beauty.

The integrity of the inner life of 'intangible cultural heritage' has been destroyed.

Although the production of 'intangible cultural heritage' is very prosperous, they are no longer part of people's lives, but have become independent handicrafts that can be appreciated and made money."

But can we deny productive protection? We must understand that even without productive protection, these problems still exist.

Productive protection is proposed to solve these problems and further emphasize "protection".

In addition, when we go back to the field investigation cases, we can find that some "intangible cultural heritage" projects may not fully apply the "integrity" principle.

Take Guangxi Zhuang Brocade as an example.

It was originally a kind of "female red" for local women.

It was produced mainly as a token exchanged between lovers and a dowry for daughters to marry.

With the changes in local love concepts and marriage customs, Zhuang brocade has lost its original functions.

If we demand it based on "integrity", we have to force people to re-accept previous concepts, which is obviously unrealistic.

Another example is the Yangjiabu Wood New Year Picture.

Its original function was only to set off the atmosphere during the Chinese New Year.

With the improvement of local economic conditions and changes in people's spiritual and cultural needs, almost no one now regards it as New Year's goods and buys it for posting.

In the past ten years, it has gradually transformed into handicrafts and gifts, and the paper and pigments used for printing have also changed accordingly.

This obviously deviates from its original "integrity", but it is an inevitable choice for inheritors to ensure its inheritance.

Therefore, we should dialectically view the "holistic" issue in the process of implementing productive protection.

In short, due to the different conditions for the emergence of "intangible cultural heritage", there are huge differences in forms, and the living status is different.

Therefore, we cannot simply require it based on "authenticity" and "integrity" as we treat material cultural heritage.

Instead, we should always insist on treating it from a development perspective, as long as it conforms to its own inheritance and development.

Law, as long as its "core skills" are preserved, as long as its inherent cultural values and attributes have not undergone fundamental changes, We do not have to worry too much about the "authenticity" and "integrity" issues in the process of productive protection.

(4) Inheritance and innovation issues of productive protection

Implementing productive protection and allowing handmade "intangible cultural heritage" products to continue to enter the market.

In this process, innovation is an important means to gain consumer recognition.

During field surveys, we can easily observe that most projects that dare to innovate and are good at innovation are in a relatively good development status.

However, if we blindly innovate "intangible cultural heritage" in order to cater to the market and add too many human intervention factors in the process of its natural development, will this damage the inheritance of "intangible cultural heritage"? To answer this question, we must dialectically view the contradiction between inheritance and innovation in the process of productive protection.

inheritance

Inheritability is the essential attribute of "intangible cultural heritage".

Any protection work we do is ultimately aimed at enabling it to be "inherited" without dying out.

But does the emphasis on "inheritance" mean that no change can be made? Obviously not.

"It doesn't mean that inheritance is unchanging.

In fact, there is no unchanging inheritance, but there are still unchanging factors.

It may be that the spirit remains unchanged, the core remains unchanged, and the form has changed; it may also be that the form remains unchanged, but the expression has changed.

The meaning has changed...

Exploring the mechanism of inheritance is also exploring change." The "change" in the inheritance of "intangible cultural heritage" is actually determined by its "vitality".

"Intangible cultural heritage" arises in people's social practice and continues to change with the evolution of history and changes in people's production and lifestyle.

Therefore, without changes, there will be no inheritance.

The reason why the "intangible cultural heritage" that has gone through hundreds or even thousands of years is still vibrant today is that people rely on their own wisdom to continuously improve and develop in long-term social practice and constantly meet people's new needs.

Of course, there are also unchanging elements in inheritance.

For example, in productive protection, we emphasize the inheritance of "core skills" and "core values", which cannot be changed at will.

Dialectically view the contradiction between inheritance and innovation

By understanding the changing factors in the inheritance of "intangible cultural heritage", we can dialectically view the contradiction between inheritance and innovation.

The "Guiding Opinions on Strengthening the Productive Protection of Intangible Cultural Heritage"(referred to as the "Opinions") emphasize:

"Adhere to the integrity of traditional craft processes and the authenticity of core skills...

Oppose unauthorized changes in traditional production methods, traditional craft processes and core skills of intangible cultural heritage...

Encourage and support inheritors in inheriting traditional skills and adhering to traditional craft processes and Innovate and develop skills based on core skills; Encourage and support inheritors to create works that meet the needs of contemporary society while making works with traditional themes, and promote the functional transformation and aesthetic value improvement of traditional products."

In this "Opinion", on the one hand, it advocates the promotion of inheritance and opposes unauthorized changes in core skills and other traditions, and on the other hand, it encourages innovation and development of skills.

This may seem a bit contradictory, but in fact it is dialectically unified.

"Inheritance, innovation and market are the three elements that constitute productive protection, and they are indispensable.

Without inheritance, there will be no foundation; without innovation, there will be no continuous motivation; without a market, productive protection will fail."

As Gu Liuxi, the inheritor of Chaozhou Wood Carving, said: "We are innovating every year and every time.

Although we say we want to protect tradition, we are too rigidly adhered to tradition rather than innovating, and customers don't want it.

Only with both tradition and innovation can the factory do it." In the development of Chaozhou wood carving, we have seen this innovation reflected in all aspects of creation and sales.

In order to meet the growing demand of the collectibles market, Gu Liuxi and other inheritors broke through the previous tradition of only using "softwares" such as camphor wood, and introduced high-end "hardwoods" such as sandalwood and rosewood into Chaozhou wood carving.

Accompanied by this, there are also improvements and innovations in a series of tools and processes; In order to break the limitations of Chaozhou production time and space, Gu Liuxi finally invented the "Golden Ground Paint Layer" painting method after twenty to thirty years of exploration, allowing Chaozhou wood carvings that were previously "afraid of cold and heat" to enter the northern and tropical markets.

In addition, Chaozhou woodcarving is also good at adjusting the theme of creation at any time according to market changes.

For example, in the 1990s, the Buddha statue market in Southeast Asia was booming, and they mainly created Buddha statues.

Since 2006, the domestic collectibles market has emerged, and they have focused on the domestic market.

In short, we see the endless growth of Chaozhou wood carving, which is inseparable from the continuous innovation of generations of inheritors.

In addition, we are very pleased to see that Chaozhou wood carving has still adhered to the most important traditions in the process of innovation and retained its "core values" and cultural connotations, such as being characterized by lacquer and gold, and being characterized by superb and gorgeous hollow carving skills as the core, embodying marine culture and Chaozhou regional culture in terms of themes, theme processing, and modeling design.

Therefore, we believe that innovation and inheritance are not irreconcilable.

There is no unchanging inheritance, nor is there any innovation completely divorced from inheritance.

Inheritance is the prerequisite, innovation is the means, and equal emphasis on protecting tradition and innovative development is the principle that must be adhered to in productive protection.

This is also fully in line with the reality of China's "intangible cultural heritage" protection work.

The problems encountered in the process of productive protection are actually problems encountered in the entire "intangible cultural heritage" protection work.

Through the practice of field surveys and the sorting and analysis of relevant theoretical issues, we believe that exploring and solving the problems of "industrialization","authenticity","integrity" and "integrity" that arise in productive protection, as well as the contradiction between "inheritance" and innovation, It has a demonstration effect in the practice of "intangible cultural heritage" protection.

(This article was originally published in "Journal of Guangxi University for Nationalities (Philosophy and Social Sciences Edition)", Volume 38, No.

4 (July 2016).

The annotations are omitted.

For details, please refer to the original text.)