[Zhang Yi] On the inheritance and innovation of intangible cultural heritage traditional craft projects

Abstract: "Intangible cultural heritage re-entering life" is the inevitable trend for the continued inheritance and development of traditional crafts.

In the process of promoting the creative transformation and innovative development of traditional crafts, we must clarify intangible cultural heritage traditional crafts and their innovative design, cultural and creative product design, and modern products.

Only by the connection and differences between the three can we correctly handle the inheritance and innovation of intangible cultural heritage traditional craft projects.

Innovatively designed traditional crafts can better integrate into contemporary life and promote them to become an organic part of contemporary lifestyle.

Cultural and creative products that carry out integrated innovative design based on the cultural elements of "traditional crafts" are derived from traditional crafts and cultural elements and enhance the added value of products with traditional culture, which will promote the popularization, inheritance and development of traditional crafts; Modern product design that draws on the cultural elements of "traditional crafts" will play a positive role in the construction of national cultural soft power with its unique and charming cultural elements of "intangible cultural heritage traditional craft projects".

All three are intangible cultural heritage traditional crafts.

Forms of creative transformation and innovative development in contemporary times, but their respective positioning needs to be clarified in specific practice.

Keywords: intangible cultural heritage; traditional crafts; cultural and creative product design; modern design; innovation

The re-entry of "intangible cultural heritage" into life is a concrete action of "carrying forward excellent traditional Chinese culture." Since 2015, with the promotion and implementation of the "China Intangible Cultural Heritage Inheritor Training Program" by the Ministry of Culture and the Ministry of Education,"more than 110 colleges and universities across the country actively participate in the" China Intangible Cultural Heritage Inheritor Training Program "jointly implemented by the Ministry of Culture and Tourism, the Ministry of Education and the Ministry of Human Resources and social protection, So far, it has benefited more than 70,000 young and middle-aged intangible cultural heritage inheritors.", Coupled with a series of activities such as the Intangible Cultural Heritage Expo and Cultural Heritage Day launched by the Ministry of Culture and Tourism, as well as high-density reports from the central and local media,"Intangible Cultural Heritage" has become a contemporary hot topic, and the re-entry of "Intangible Cultural Heritage" into life has become a consensus of the whole society.

Against this background, the inheritance and innovative development of intangible cultural heritage traditional crafts projects (hereinafter referred to as traditional crafts) have also been carried out in a lively and diverse manner.

Of course, when new things appear, we are never deep enough to understand their development laws and understanding.

Discussions, even disputes and fame and destruction are a normal process of understanding.

Are there boundaries and boundaries between intangible cultural heritage traditional craftsmanship and its innovative design, cultural and creative product design, and modern product design? Is there a problem of "over-design" in traditional process innovation? How to correctly implement "traditional process innovation"? They are all issues that need to be answered urgently in the inheritance and development of traditional crafts at this stage.

Discussions are always useful and will allow us to have a deeper understanding of the inherent development laws of "traditional crafts" and their innovations.

1."Intangible cultural heritage re-entering life" is the inevitable result of its inheritance and development

1) Laws, regulations and government documents in various periods have continuously deepened their understanding of the inherent development laws of intangible cultural heritage protection

The concept of re-entering intangible cultural heritage into life was clearly put forward in the continuous exploration of intangible cultural heritage protection practice.

On August 28, 2004, the 11th meeting of the Standing Committee of the Tenth National People's Congress passed a decision to approve the Convention on the Protection of Intangible Cultural Heritage, and the "Intangible Cultural Heritage Law of the People's Republic of China", which will come into effect on June 1, 2011."Article 37 The state encourages and supports giving full play to the special advantages of intangible cultural heritage resources and rationally utilizes intangible cultural heritage on the basis of effective protection.

Representative project development has local, Cultural products and cultural services with national characteristics and market potential." Legal documents clearly stipulate that intangible cultural heritage can reasonably utilize and develop cultural products and cultural services with market potential, and specify the relationship between intangible cultural heritage serving life.

The February 2012 "Guiding Opinions on Strengthening the Productive Protection of Intangible Cultural Heritage" pointed out: "On the premise of effective protection and inheritance...

promote the protection of intangible cultural heritage more closely integrated into people's production and life." For the first time, the concept of promoting the integration of intangible cultural heritage protection into people's lives through specific "productive protection" work of intangible cultural heritage was proposed.

November 2015 "Notice of the General Office of the Ministry of Culture and the General Office of the Ministry of Education on Implementing the Training, Study and Training Plan for China's Intangible Cultural Heritage Inheritors""1.

Purpose of the plan.

The training, study and training plan focuses on 'strengthening the foundation and broadening the horizons'...

and promoting traditional crafts into modern life..." At the beginning of the implementation of the research and training plan, we advocated the entry of intangible cultural heritage into modern life, seizing the key to the protection of intangible cultural heritage.

March 2017 "China Traditional Crafts Revitalization Plan""I) Overall Goals.

Based on the excellent traditional culture of the Chinese nation..., traditional crafts can be widely used in modern life and better meet the needs of the people for consumption upgrading." 5 Emphasize that the revitalization of traditional crafts is inseparable from its application in modern life, and meet the people's higher demand for intangible cultural heritage products with high-quality and excellent traditional cultural carriers.

December 2018 "Measures for the Management of National Cultural and Ecological Reserves""Article 4, the construction of national cultural and ecological reserves should adhere to the concepts of protection priority, overall protection, and seeing people and things and seeing life, not only protect intangible cultural heritage, but also Protect the humanistic and natural environment that nurtures and develops intangible cultural heritage,..." It clarifies the concept of intangible cultural heritage protection of "seeing people, seeing things, and seeing life", which actually implies recreating a cultural and ecological environment that is suitable for the survival of intangible cultural heritage, with the goal of integrating intangible cultural heritage into life.

UNESCO is an international organization that discusses issues related to education, science and culture among governments.

Therefore, China's policies and guidelines on "intangible cultural heritage" protection must be legally promoted and implemented by my government.

More than ten years since joining the Convention for the Protection of Intangible Cultural Heritage in August 2004, the release of government documents related to intangible cultural heritage protection in various periods is a summary of experience and theoretical sublimation of intangible cultural heritage protection practice, and also a summary of subsequent intangible cultural heritage work.

Specific guidance, continuous improvement of understanding of intangible cultural heritage protection in practice, and the concept of "intangible cultural heritage re-entering life" is a summary of the inherent development laws of intangible cultural heritage protection in many years of practice.

2)"Intangible cultural heritage re-entering life" points out the direction for the protection, inheritance and development of intangible cultural heritage

Generally speaking, the "intangible cultural heritage" we see today are people's production and lifestyle before industrialization.

With the development of modern society such as industrialization, most of the "traditional crafts" in traditional lifestyles are no longer necessary and needed in contemporary lifestyles.

This has caused some "intangible cultural heritage" projects to need so-called "rescue protection", and the inheritance and development of some "intangible cultural heritage" projects have encountered the loss of employees.

Problems that need to be solved urgently, such as the lack of external environment.

"Intangible cultural heritage" has lost the traditional lifestyle environment on which it relies.

Inheritors of traditional crafts cannot rely on their skills and products to obtain dignified material life and spiritual satisfaction in modern society.

Their continued inheritance and development obviously cannot rely on "feelings".

Support, relying solely on government support is not in line with the laws of social and economic development.

In the long run, it is not conducive to the continued inheritance and development of "intangible cultural heritage" and will only become a cultural "specimen" of the "past".

The inheritance and development of "intangible cultural heritage" in contemporary times, on the one hand, must arouse its endogenous motivation and promote its innovative development to adapt to the needs of contemporary life.

On the other hand, it also requires society to actively create an "environment", namely "restoration" advocated by Mr.

Xu Yiyi and rebuild a traditional, elegant and healthy lifestyle." The former is easier and more proactive to implement, and is in line with "1)" Intangible Cultural Heritage "of the Convention for the Protection of Intangible Cultural Heritage, which refers to communities,...

This intangible cultural heritage has been passed down from generation to generation and is constantly recreated as communities and groups adapt to their surrounding environment and interact with nature and history, providing these communities and groups with a sense of identity and continuity, thereby enhancing cultural diversity.

and respect for human creativity." Spirit is in line with the inherent development laws of "intangible cultural heritage" protection.

At the same time,"intangible cultural heritage re-entering life" also promotes "restoring and rebuilding the lifestyle"; the latter is passive for inheritors and requires long-term efforts of the whole society.

Construction.

In this way, the two are actually complementary in different ways.

Therefore, stimulating the endogenous innovation power of "intangible cultural heritage" to meet the development needs of contemporary social life, and allowing "intangible cultural heritage to re-enter life" is the clear direction for the current protection, inheritance and development of intangible cultural heritage.

So, as an important part of intangible cultural heritage projects, how should "traditional crafts" develop in the contemporary era and in what form should they continue to develop to better integrate into contemporary life?

2.

Traditional craftsmanship and its innovative design, cultural and creative product design, modern product design

We need to clarify the three forms that have emerged in the current development of intangible cultural heritage traditional crafts, namely: the connection and differences between intangible cultural heritage traditional crafts and its innovative design, cultural and creative product design, and modern product design, so as to correctly handle the inheritance and innovation of intangible cultural heritage traditional craft projects.

1) Traditional craftsmanship and innovative design

For some intangible cultural heritage traditional craft projects that are no longer suitable for contemporary social life, design innovation or "re-design" of the products will be re-presented in life in a manner that conforms to the aesthetic needs and use functions of contemporary people, and become a contemporary.

An organic part of the lifestyle, this process is actually the inheritance and development of intangible cultural heritage traditional crafts, an inheritance of sustainable development, and conforms to the definition of intangible cultural heritage in the Convention.

Looking at the development of intangible cultural heritage traditional craft projects from a historical perspective, it is completely consistent with the definition of the "Intangible Cultural Heritage Convention".

For example, the national-level intangible cultural heritage project "Blue Calico".

At present, we can see the earliest blue calico in 1965.

Four blue calico quilts were found in the Ming Dynasty tombs of Sanyou Village, Maqiao Town, Minhang, Shanghai.

They were collected in the Minhang District Museum of Shanghai and the Shanghai History Museum of Shanghai.

The archaeological community identified them as blue calico products in the late Ming Dynasty.

As a result, we can vertically compare the materials, patterns, shapes, processes, and applications of blue calico products from the Ming Dynasty, Qing Dynasty, Republic of China, and contemporary periods, which have developed and changed with the times.

For example, the blue calico in the late Ming Dynasty is more exquisite.

Among them, the "courtyard game quilt cover" is a single opening pattern suitable for pattern organization and is made up of three fabrics.

It has a strong painting style.

By the Qing Dynasty and the Republic of China, such pattern layouts are rare.

See more suitable pattern organization for the combination of bird and bird patterns with auspicious connotations; for example, before the Republic of China, the width limit of fabrics limited to hand-looms generally did not exceed 50 centimeters wide, and a quilt surface generally required 3-4 pieces of cloth splicing.

However, after the Republic of China until 1949, blue calico quilts made of wide-width mechanical cotton generally required only two pieces of cloth splicing at most.

All these changes have occurred with the aesthetic and technological development of the times.

No one will say that the blue calico of the Republic of China has developed and changed compared with the ones in the late Ming Dynasty and cannot be called blue calico, because the core technical feature of blue calico "has not changed fundamentally, so it is still blue calico, but it has developed, changed and even innovated with the times.

Therefore, for traditional crafts, on the basis of maintaining their "core technical characteristics" and adhering to handmade skills, product design carries out innovative design of pattern decoration with the aesthetics of the times, and materials and crafts can also be innovatively applied., it is still a traditional craft and an intangible cultural heritage project.

2) Cultural and creative product design based on the cultural elements of "traditional craftsmanship"

In recent years,"cultural and creative industries" are in the ascendant.

Cultural and creative products are hereinafter referred to as cultural and creative products.) Due to their inherent characteristics of "traditional cultural elements", they are directly or indirectly connected or even entangled with intangible cultural heritage traditional craft projects.

So what is a "cultural and creative product"? The only authoritative explanation that can be found so far is the "Notice of the General Office of the State Council on Transmitting Several Opinions of the Ministry of Culture and Other Departments on Promoting the Development of Cultural and Creative Products in Cultural and Cultural Relics Units" in May 2016 and "4) Improving the level of cultural and creative product development.

Deeply explore the value connotation and cultural elements of cultural resources, widely use multiple carriers and forms of expression, develop cultural and creative products that organically unify artistry and practicality and adapt to the needs of modern life, and meet diversified consumer needs."

This sentence can be summarized as: cultural elements--carrier of expression--art and practicality--contemporary life.

In other words, take traditional crafts as an example, starting from the cultural elements of one or more traditional crafts, extract cultural connotations or design forms or craft methods, etc., use daily necessities carriers or decorative forms that meet the needs of contemporary life, and use modern design methods to integrate and innovate design, adopt handmade or mechanized mass production methods to create new modern life and decoration products with cultural characteristics of traditional crafts, and stimulate consumers 'desire to purchase.

Enhance the added value of products with traditional culture.

Similarly, let's take blue calico craftsmanship as an example.

The traditional products of blue calico are mainly daily necessities such as clothing and bedding.

Starting from the cultural connotation and technological characteristics of blue calico, they are combined with modern daily necessities and decorations to innovate and design new products: such as notebooks with blue calico as cover, new blue calico bags, stationery such as pen boxes and pens with blue calico design elements, blue calico wall hanging fiber art...; It can also be a combination of blue calico and other processes for innovative design, such as blue calico folding fans, blue calico tigers and other puppets, blue calico China knots..

For cultural and creative product design, cultural elements derived from traditional craftsmanship give products new added value and create new social needs through product design.

Its essence is innovative modern product design.

3) Modern product design that takes contemporary product design as the starting point and draws on cultural elements of "traditional craftsmanship"

Designing and developing products for contemporary life because of the needs of contemporary life is called modern product design.

Modern product design always occurs because of the emerging new needs of the market and consumers.

The development and progress of modern society in science, technology, culture and art, as well as the generational replacement of educated people as consumers, continue to give rise to new life concepts and lifestyles.

and related consumer groups, therefore, it is necessary to continuously provide newly designed products to society to meet social needs.

The design route of modern products is based on the needs of contemporary society:

Consumer groups--lifestyle--commodity demand--product design--contemporary life.

That is to say, product designers need to study the lifestyle of consumer groups based on the consumption positioning of product brands, so as to accurately position the style, style, pricing, and sales of product design, so as to conduct product design and development for brand consumer groups in a targeted manner.

However, modern product design is not separated from tradition.

blindly following Europe, America and Japan will always be second-rate products.

Product design is dependent on the construction of brand culture, and brand culture is supported by the soft power of national culture.

The true realization of high added value of Chinese products depends on the national cultural soft power accumulated by brand culture, which requires us to strategically use "China's excellent traditional culture" as the cultural core of product design at this stage of product design.

Design products in internationally popular design language, gradually influence international product design trends, and use brand culture to shape the soft power of China's culture.

Let's still take blue calico craftsmanship as an example.

A design feature that needs to be emphasized in fashion design and other product design is "timeliness", that is, the fashion trend of textiles and garments.

At present, the voice of fashion trends still lies in Europe.

From a certain perspective, the so-called fashion trend is the spiral development process of European traditional culture in contemporary reproduction.

Under this condition, we should carefully study the development laws of international fashion trends.

The cultural elements of China's traditional crafts can be expressed with popular trends.

For example,"returning to nature" is one of the important trend directions in recent years.

We can combine the design elements of blue calico craftsmanship with it.

Of course, this combination is not blunt but requires ingenuity to design, such as drawing on the traditional patterns and characteristics of blue calico, and carrying out fashionable design in pattern organization and color.

The production process does not need to use traditional craftsmanship to achieve a balance between cost and profit.

The product is visually fashionable textiles, while its design cultural connotation is traditional craftsmanship.

Modern product design can apply the design cultural elements of traditional craftsmanship, but it is obviously not "intangible cultural heritage", but it will use "intangible cultural heritage" cultural elements to play a positive role in the construction of cultural soft power.

4) Traditional craftsmanship and cultural and creative product design, modern product design

The relationship between traditional crafts and cultural and creative product design, and modern product design needs to be accurately clarified.

The reason why the "degree" dispute arises between modern design and the innovative development of intangible cultural heritage traditional craft projects is actually aimed at intangible cultural heritage traditional craft projects.

In the innovative design, there is no clarification of the two different concepts of "re-designing" intangible cultural heritage traditional craft projects and "cultural and creative product design" drawing intangible cultural heritage elements.

The "re-design" of intangible cultural heritage traditional craft projects is an improved design for specific single traditional craft products while maintaining their "core technical characteristics", and still adopts improved methods of hand-made products to adapt them to the new needs of contemporary social life.

Drawing on elements from intangible cultural heritage traditional craft projects for "cultural and creative product design" is based on modern product design, drawing on the design or cultural elements of a single traditional craft project or multiple traditional craft projects to carry out a new modern product design.

Although it has intangible cultural heritage elements and can be produced by hand or mass produced by modern production methods, it is no longer an intangible cultural heritage traditional craft, but a "cultural and creative product".

Culture gives products new added value.

Its essence is an innovative modern commodity, but it originates from traditional crafts and will promote the popularization, inheritance and development of intangible cultural heritage.

Will the innovative development of intangible cultural heritage traditional craft projects harm the healthy inheritance and development of intangible cultural heritage projects due to "over-design"? Correctly clarifying the innovative development of traditional crafts and the "cultural and creative product design" based on intangible cultural heritage elements are two different product design paths, which helps us understand that the so-called "over-designed" traditional craft products are actually based on intangible cultural heritage elements.

We can classify them as "cultural and creative products".

In this way, the problem is very simple and the question will be solved.

For modern product design, it is obviously not an "intangible cultural heritage", but modern product design can and should be encouraged to apply the design cultural elements of traditional craftsmanship.

Its products can be designed to meet the welcome and needs of contemporary consumers, and will be "intangible cultural heritage" Cultural elements play a positive role in the construction of national cultural soft power.

3.

The inheritance and development of traditional crafts and their innovative design methods and paths

1) Principles and methods for innovative design of traditional crafts

The inheritance and development of intangible cultural heritage traditional craft projects have their own objective laws and development paths.

In the process of developing with the times, integrating into contemporary life and becoming a contemporary lifestyle is the best inheritance and development.

Therefore, for the innovative development of intangible cultural heritage traditional craft projects, modern design concepts can be used to redesign the appearance and function of specific traditional craft products that meet the aesthetic needs of contemporary consumers, so as to inspire consumers to use and consume traditional craft products.

desire.

There is no "degree" problem between this innovative design for a certain traditional craft variety and the inheritance and development of traditional craft projects.

It is only based on maintaining the principle of "core technical characteristics" of traditional crafts, the improved design for specific and single traditional craft products may be called "re-design" rather than disruptive design.

The product production method still adopts traditional handicrafts or improved handicrafts to improve production efficiency.

In order to make traditional craft products more suitable for the needs of contemporary consumers, expand the space for traditional craft products to enter public life, and make "intangible cultural heritage entering life" become daily.

The innovative design of intangible cultural heritage traditional crafts is an improved design that meets the needs of contemporary life based on the traditional craft project itself in terms of shape, color, materials, craftsmanship and functions for specific "single" traditional craft products.

Call it "re-design".

Most of the traditional craft projects currently existing in my country originated from the era of agricultural civilization.

Due to the unbalanced development of social areas and urban and rural areas in China, many traditional craft projects have been preserved to this day.

However, with the rapid development of contemporary China, where will the remaining traditional craft projects go? Obviously, we don't want to see them go away or become "cultural relics" in museums because they are not suitable for social development.

Of course, traditional crafts should continue to move forward along the route of continuous innovation and changes in the historical process of their development to adapt to the needs of social life.

Contemporary traditional crafts must inevitably need to innovate and develop with the times.

These innovations are mainly reflected in their "shape""Color","materials","craftsmanship" and "function".

The shape and color of traditional craft products must be newly designed in accordance with contemporary aesthetic needs.

Modern design methods can be borrowed from the design innovation of traditional crafts; Newly discovered materials can also be tried and used, just like the discovery of "jade", becoming new jade carving materials; new technological methods to improve production efficiency can be applied as long as the manual craftsmanship is still maintained, such as the grinding heads and driving methods in the contemporary jade carving industry have adopted modern technology; The functions of traditional crafts should be expanded or "returned" with the needs of the times.

For example, embroidery was born out of textile decoration, but began to expand in the Song Dynasty and appeared."Since the Song Dynasty, ancient embroidery in my country broke through the practical category and gradually embarked on the artistic path of independent development." After 1949,"ornamental embroidery" was pushed to a new peak with the "four famous embroideries" such as Su embroidery, Hunan embroidery, Guangdong embroidery, and Sichuan embroidery.

In recent years, various factors led to decline.

However, with the improvement of people's living standards, embroidered daily necessities such as clothing, jewelry, and bags have begun to "return" to life and have shown broad development prospects.

As a result, the innovative design of traditional crafts has not fundamentally changed the "core technical characteristics" of traditional crafts projects.

It is just the development process of traditional crafts that keeps pace with the times, which promotes traditional craft projects to better adapt to the needs of contemporary life, thus Continue to maintain the inheritance and development of traditional craft projects.

2) Ideas and paths for the inheritance and development of traditional crafts

Looking back at the fact that my country announced its accession to the Convention for the Protection of Intangible Cultural Heritage in August 2004, the protection practice of China's intangible cultural heritage has a clear context, from the initial exploration to the current specific policies and measures, that is, the promotion of internal motivation and the promotion of the external environment are two-pronged, and two routes are used to implement the spirit of the "Convention":

The first line is to cultivate the endogenous innovation motivation of inheritors of intangible cultural heritage projects through the "Intangible Cultural Heritage Inheritors Research and Training Program" and other methods to promote the innovative development of intangible cultural heritage projects, thereby promoting the "re-entry of intangible cultural heritage into life";

The second line is to use measures such as "cultural and ecological reserves" to promote the external living environment that is conducive to the protection and inheritance of "intangible cultural heritage".

When presiding over the 13th collective study session of the Political Bureau of the 18th CPC Central Committee, General Secretary Xi Jinping pointed out that to promote China's excellent traditional culture,"we must properly handle the relationship between inheritance and creative development, and focus on creative transformation and innovative development." "The so-called creative transformation is to transform those connotations and old forms of expression that are still valuable for reference in accordance with the characteristics and requirements of the times, give them new contemporary connotations and modern forms of expression, and activate their vitality.

The so-called innovative development means supplementing, expanding and improving the connotation of China's excellent traditional culture in accordance with the new progress and new progress of the times, and enhancing its influence and appeal."

From this, let us examine "innovative design of traditional crafts";"cultural and creative product design based on the cultural elements of 'traditional crafts'";"modern product design that draws on the cultural elements of 'traditional crafts'".

The three are actually the same goal.

They are all "creative transformation and innovative development" to promote China's excellent traditional culture in the new era:

Innovative design of traditional crafts to better integrate them into contemporary life and become a contemporary lifestyle is the best inheritance and development.

The design of cultural and creative products based on the cultural elements of "traditional crafts" originates from the cultural elements of traditional crafts.

Improving the added value of products with traditional culture will promote the popularization, inheritance and development of intangible cultural heritage traditional crafts.

Modern product design that draws on the cultural elements of "traditional crafts" will play a positive role in the construction of national cultural soft power with the cultural elements of "intangible cultural heritage traditional craft projects".

Figure 1 Schematic diagram of the relationship between traditional crafts, cultural and creative products and modern design in contemporary life

However, although all three are contemporary forms of creative transformation and innovative development of intangible cultural heritage traditional crafts, in specific practice, we do not exclude inheritors from trying to make cultural and creative products with intangible cultural heritage elements and even need to be actively encouraged; If handmade techniques are used to design cultural and creative products based on intangible cultural heritage, then there is no obvious boundary or boundary between such cultural and creative products and traditional intangible cultural heritage crafts.

However, cultural and creative products are modern products after all, and it does not exclude the use of machines.

Production methods are used to produce products in batches, and such cultural and creative products are definitely inappropriate in the name of "intangible cultural heritage"; Of course, modern fashion product design that draws on intangible cultural heritage elements is just a process of creative transformation of intangible cultural heritage elements and giving products cultural connotation.

Products are obviously far from intangible cultural heritage.

Therefore, in practice, it is still necessary to clearly "mark" that the "innovative design" you make is one of the three and is a traditional process innovative design? Traditional craft, cultural and creative product design? Or modern product design? It is not necessary to think that they are all "intangible cultural heritage" or intangible cultural heritage traditional craft projects.

This is particularly important in the process of innovative practice.

It can more easily respond to criticism and resistance from various knowledge cognitive systems, so as to avoid negative impacts on intangible cultural heritage traditional crafts.

Innovative design and inheritance development have adverse effects.

conclusion

"The re-entry of intangible cultural heritage into life" is the inevitable result of its inheritance and development.

As an important part of intangible cultural heritage projects,"traditional crafts" need to be clear on the basis of maintaining "core technical characteristics" and adhering to handmade skills., guiding principles for innovative design according to the aesthetics and needs of the times.

Only by clarifying the connections and differences between traditional crafts and their innovative designs, cultural and creative product design, and modern product design can we correctly handle the inheritance and innovation of traditional craft projects.

Innovatively designed traditional crafts can better integrate into contemporary life and promote them to become an organic part of contemporary lifestyle.

Cultural and creative products that carry out integrated innovative design based on the cultural elements of "traditional crafts" are derived from traditional crafts and cultural elements and enhance the added value of products with traditional culture, which will promote the popularization, inheritance and development of traditional crafts; Modern product design that draws on the cultural elements of "traditional crafts" will play a positive role in the construction of national cultural soft power with its unique charming cultural elements of "intangible cultural heritage traditional craft projects".

All three are intangible cultural heritage traditional crafts.

Forms of creative transformation and innovative development in contemporary times, but their respective positioning needs to be clarified in specific practice.

From a historical perspective, a few years or a hundred years later, today's "cultural and creative product design based on the cultural elements of 'traditional crafts'" and "modern product design that draws on the cultural elements of 'traditional crafts'", some of the product design and production skills may even become future "intangible cultural heritage traditional craft projects." Therefore, what we need to do now is to take "promoting China's excellent traditional culture" as our own responsibility and continue to promote the creative transformation and innovative development of traditional crafts.

(This article is published in "Cultural Heritage", issue 1, 2020, with the annotations omitted, see the original issue for details)