[Li Xiaosong] Temporal and spatial research on the construction of cultural ecological reserves
Abstract: The construction of cultural ecological reserves is an important cultural project implemented based on the overall characteristics of intangible cultural heritage, drawing on and absorbing the theory of Western cultural ecology, and according to the specific national conditions of China.
A comprehensive discussion of the temporal and spatial nature of the construction of cultural and ecological reserves is not only related to academic theory, but also an important practical issue.
In terms of timeliness, we should respect the regional historical and cultural development context, be close to the current life of the people, and maintain the continuity of tradition in contemporary life time; in terms of space, we should delineate reasonable boundaries based on the integrity of cultural space and the effectiveness of administrative management, and encourage exchanges and mutual learning while maintaining cultural characteristics.
The core of cultural and ecological protection is people.
Cultural and ecological reserves realize the construction of the relationship between man and nature, man and society, man and history, and man and themselves by building a natural and cultural space with profound historical and cultural heritage and distinctive characteristics.
Keywords: Intangible cultural heritage; cultural ecology; cultural ecological reserve
Since joining the UNESCO Convention for the Protection of Intangible Cultural Heritage in 2004, China has carried out fruitful work on the protection of intangible cultural heritage (hereinafter referred to as "intangible cultural heritage protection").
It is noteworthy that China's intangible cultural heritage protection is carried out during the period of social transformation.
As the urbanization process continues to accelerate, the population is moving rapidly, technology is developing rapidly, information is extremely rich, and people's production and lifestyle have undergone tremendous changes.
Many intangible cultural heritage projects are increasingly facing problems such as being out of touch with the times, reduced audience, and lack of a practical environment.
The government-led intangible cultural heritage protection work has two important focuses in the context of profound changes in the environment for the formation, survival and development of intangible cultural heritage: First, we must try our best to maintain a cultural and ecological environment conducive to the inheritance and development of intangible cultural heritage and achieve the goal of overall protection; The second is to help intangible cultural heritage projects better adapt to the new social environment and regain vitality and vitality in contemporary society on the premise of respecting traditions and maintaining characteristics.
In the final analysis, it is necessary to coordinate the symbiotic relationship between intangible cultural heritage and its ecological environment, maintain the living inheritance of intangible cultural heritage, and ensure the sustainable development of intangible cultural heritage.
Over the past ten years, China has carried out a lot of practice in intangible cultural heritage protection, providing vivid China experience for intangible cultural heritage protection work around the world.
In the Convention for the Protection of Intangible Cultural Heritage and the Intangible Cultural Heritage Law of the People's Republic of China,"integrity" is an important feature of intangible cultural heritage, because intangible cultural heritage itself is holistic, different cultural events are interrelated and influenced by each other, and intangible cultural heritage is closely related and inseparable from the natural and cultural environment in which it is born.
It is precisely based on the concept of holistic protection that China has carried out the practice of building cultural ecological reserves with the core of protecting intangible cultural heritage.
That is, while protecting intangible cultural heritage, it also protects the cultural ecological environment in which intangible cultural heritage can be bred, inherited and developed.
A national-level cultural and ecological reserve "refers to the overall protection of cultural forms with rich historical and cultural accumulation, good survival, important value and distinctive characteristics, with the core of protecting intangible cultural heritage, and with the consent of the Ministry of Culture and Tourism.
A specific area established".
As the name suggests, the objects protected by cultural ecological reserves are cultural forms within a specific space.
They are specific areas designated by the cultural authorities based on the integrity of the cultural space and the effectiveness of administrative management.
However, the basic criteria for their selection are "profound historical and cultural accumulation","good survival status","important value" and "distinctive characteristics", etc., which are closely related to the time dimension, that is, the past and the present are regarded as a whole.
Maintaining the continuity of tradition is the key point.
Therefore, a comprehensive discussion of the temporal and spatial nature of the construction of cultural and ecological reserves is not only related to academic theory, but also an important practical issue.
1.
Theoretical perspectives of time and space: Current research status and problem discovery of cultural and ecological reserves in China
1) The research process of cultural ecology in China
In modern times, influenced by Western "environmental determinism", China scholars have begun to study culture and geographical environment as a science, focusing on the comparative analysis of Eastern and Western civilizations.
Among them, Liang Qichao was the first to introduce the idea of "environmental determinism".
He actively promoted Montesquieu's theory and discussed the role of geographical environment on the rise and development of European, Asian and American civilizations.
During the late Qing and Republic of China, in addition to Liang Qichao, Li Dazhao, Liu Shipei, Feng Youlan, Liang Shuming and others also discussed the nationality and differences of culture from the perspective of the relationship between culture and environment, and then discussed the generation mechanism of culture.
Li Dazhao pointed out the characteristics of "Eastern civilization dominated tranquility and Western civilization took the initiative." Liu Shipei used the theory of geographical environment to discuss the literature of the northern and southern schools in ancient China, and attributed the differences between the northern and southern literature to water and soil: "Generally speaking, in the northern land, the soil is thick and the water is deep, and most of the people's livelihood is still practical; in the southern land, the water is vast and the people's livelihood is at a time of time, and most of the people's livelihood is empty.
The people value reality, so the articles written are nothing more than records and analysis.
The people are still worthless, so the articles they write may be lyrical and express their aspirations." In the 1930s, some representative works in Western geography, such as Huntington's "Civilization and Climate" and Simple's "The Influence of Geographical Environment", were translated into Chinese and published, which had widespread influence.
In 1925, China geographer Zhang Qiyun wrote the "Textbook of Life Geography." The human geography part of it covers status, terrain, water conservancy, soil and minerals, climate, the relationship between biology and life, and the relationship between humans.
Since then, the geography textbooks compiled by Zhang Qiyun for middle school students have also included the relationship between man and earth.
The reason why the thought of "geographical environment determinism" had an important influence on China scholars in the late Qing Dynasty and the Republic of China was that it highlighted the prescriptive role of geographical environment on human activities.
It is true that the geographical environment is the object of human practical activities.
The geographical environment objectively creates differences in human practical activities in different historical periods and different regions.
At the same time, the geographical environment, as a participant in value generation and creation, realizes its own value through human practical activities., and affects the development of human society.
However, the limitations of this theory are also obvious.
It overstates the decisive role of geographical environment and ignores human subjective initiative and human influence on the geographical environment.
By the middle and late 20th century, academic circles had rational reflection on geographical environmental determinism and had a new understanding of the relationship between environment and culture.
In the 1950s and 1960s, with the upsurge of ethnic surveys in my country, cultural ecology research received attention from the academic community.
For example, Lin Yaohua talked about the relationship between nations and their geographical environment in his article "Economic and Cultural Types in China" and analyzed their economic and cultural conditions.
Internationally, cultural geography began to consciously turn its research focus to the study of cultural development processes in the 1980s and 1990s.
Liu Kuili spoke highly of the theoretical contribution of Stewart Julian Steward, also translated as Stewart) to cultural ecology, and believed that "Stewart's cultural ecology pioneered the integration of four orientations in the study of the interaction between culture and the environment: 1) Explain culture in terms of the environment in which it exists, not just in terms of explaining culture in the combination of economy and geography;2) Understand the relationship between culture and environment as a process rather than just a correlation; 3) Conduct research not in large cultural areas, but in small-scale environments;4) examine the connection between ecology and multi-line cultural evolution." Influenced by Steward's theory of cultural ecology, domestic scholars have gradually formed two understandings of cultural ecology.
One emphasizes the mutual relationship between culture and human living space, and the other emphasizes the organic connection between the various elements that make up culture.
"The History of Chinese Culture" co-authored by Feng Tianyu and others believes that "cultural ecology is a discipline whose object is the interrelationship between humans and the natural and artificial environments in the process of creating culture.
Its mission is to grasp cultural generation and cultural environment." Adjustment and internal connection ", attempts to learn from Western cultural ecology theory on the basis of China traditional ecological concepts and emphasize the role of people with an active role in cultural ecology.
It is believed that human beings, as a dual existence of nature and social ecology, create culture in an environment where "natural field" and "social field" are intertwined.
Human beings are not only the natural environment, social economic environment, and social institutional environment of the cultural ecosystem.
A member, but also an intervener and mediator of the cultural ecosystem.
There are also some scholars who discuss cultural ecosystems from different perspectives.
Sima Yunjie demonstrated the operation of the cultural ecosystem from the aspects of historical civilization, urban cultural ecology, and village cultural ecology.
Huang Zhengquan conducted a relatively in-depth analysis of issues such as the emergence and development of cultural ecology, the operation of cultural ecology, the crisis of cultural ecology and the construction of modern cultural ecology.
Deng Xianrui demonstrated the concept of cultural ecology and the value of conducting cultural ecology research from a macro perspective.
Yuan Guoyou focused on the current situation and future development of ethnic minority cultural ecology, and discussed the practice of cultural ecology theory in China.
Fang Lili's research on the imbalance of cultural ecology is quite noteworthy.
She believes that "every culture created by humans is a dynamic living body.
Various cultures gather together to form various cultural communities, cultural circles, and even a cultural chain similar to the biological chain.
They are interconnected to form a dynamic web of life.
As an organic part of the entire human culture, they all have their own value and play their own role in maintaining the integrity of the entire human culture." Sun Zhaogang proposed that the human cultural ecosystem is facing a crisis of imbalance, and we can start to establish national cultural ecological reserves.
Sun Chuanming and Liu Mengjie drew lessons from the ecological niche theory of biology and discussed the sustainable development of intangible cultural heritage from the perspective of intangible cultural heritage niche constructed from the four dimensions of resources, environment, demand, and time and space, and pointed out the current intangible The phenomenon of weak niche in cultural heritage and suggestions for establishing a dominant niche for intangible cultural heritage are put forward.
Some scholars have discussed cultural space or cultural ecology issues for different categories of intangible cultural heritage.
Zi Huayun and Wang Ning systematically elaborated on the cultural ecology of dance.
Hao Sumin regarded the people's language and lifestyle as the core content of the cultural ecology of ethnic minorities.
Bamoqubumo regarded the epic context, tradition, and cultural space for performance.
It is regarded as an important part of the epic cultural ecology, and Liu Zhen regarded folk life as the cultural ecology of local opera.
Based on a comparative study of the living conditions of three types of folk literature works in the Wu-dialect area, including folk songs, songs of praise to gods, and Xuan Juan, Zheng Tuyou believed that folk customs fields are the core of the protection of intangible cultural heritage of folk literature, and proposed measures to restore folk literature folk customs fields under the background of intangible cultural heritage protection, including restoring cultural spaces such as temple fairs and traditional ceremonies, introducing them into people's lives and new folk activities through "transplanting" methods, and using existing public places to "regenerate" the folk customs fields.
Provide guidance and training to personnel related to folk performances in tourist attractions.
These studies are "essentially social research on folk literature and art, and an attempt to humanize 'ecology' in the original sense" and provide a certain theoretical basis for the establishment of cultural and ecological reserves.
Although Steward's theory of cultural ecology has important reference significance for the construction of cultural ecological reserves in China, as the theory states, different cultures have different historical traditions, social and natural environments, and cannot be generalized.
Therefore, it is necessary to treat cultural ecology dialectically.
China's cultural ecology is different from other countries or regions.
China's intangible cultural heritage protection has its special historical background.
Therefore, the construction of cultural ecological reserves should draw on the essence of relevant theories, rather than copying them intact.
In this sense, some historical and cultural scholars 'research on the ecological concepts of China's traditional culture is also worthy of attention.
For example, Han Yangmin once described seven customs and cultural circles in China, believing that "customs and cultures produced in different eras, different ethnic lives, and different natural environments have certain regional and national characteristics...
Customs and cultures between regions are relative and changing, that is, in the same region, different ethnic groups, and different environments, their lifestyles and behaviors also penetrate and influence each other." He particularly emphasized that the role of political factors in ethnic integration cannot be ignored.
For example, Emperor Xiaowen's Hanization reform and King Wuling's implementation of "Hu Fu Riding and Shooting" greatly promoted ethnic integration and customs changes.
Customs and cultural exchanges and social development are a dialectical and unified relationship.
On the one hand, social progress promotes customs and cultural exchanges, on the other hand, customs and cultural exchanges become a positive force in promoting social progress.
Xiao Fang also noticed the concept of traditional customs in China early and proposed the concept of "customs and cultural zone." He also believed that China traditional customs have strong ethical character, have the habit of flowing and concentrating transmission and the solidification nature that is difficult to change and transfer.
It can be said that the introduction of the theory, current situation and protection issues of cultural ecology has opened up the academic community's exploration of cultural ecological protection, and has also prompted the government to try the practice of cultural ecological protection.
Overall, the research on cultural ecology by contemporary scholars in China is mainly divided into two parts: one is to learn from the theories and methods of Western cultural ecology to study the current cultural ecological problems in China; the other is to study China's folk culture based on the concept of cultural ecology.
The construction and development of cultural ecological reserves cannot ignore our own history and traditions.
Therefore, contemporary scholars should pay attention to the historical research of customs and culture, which is an important basis for us to study and build cultural ecological reserves with China characteristics.
2.
Theoretical discussion on the construction of cultural ecological reserves
The construction of cultural and ecological reserves is not only a work practice issue, but also a theoretical research issue.
2007 is an important time point in the construction of cultural and ecological reserves in China.
In June of that year, the former Ministry of Culture identified China's first "national-level cultural and ecological protection experimental zone", namely the "Southern Fujian Cultural and ecological protection experimental zone." Before and after this, discussions on cultural and ecological reserves in the academic community have been relatively concentrated and are still enlightening to this day.
Wu Bingan's article "Application of Cultural Circle Theory in the Protection of Intangible Cultural Heritage" provides a theoretical foundation for the establishment of cultural and ecological reserves in China.
He believes that China's intangible cultural heritage is a diverse and integrated mixed cultural circle, and is composed of a number of independent cultural circles.
Attention should be paid to the overall protection of intangible cultural heritage.
Liu Kuili sorted out the academic concepts of cultural ecology and cultural ecology, and analyzed five major problems existing in the construction of cultural ecological reserves in China, including the issue of people's subjectivity, the issue of correctly treating the values that exist in cultural heritage, and maintaining cultural integrity., cultural overexploitation and inappropriate intervention by administrative departments, and put forward the principles that should be grasped in the construction of cultural ecological reserves, namely, the principle of openness, development, subjectivity, Respect the principles of values of the general public and appropriate government participation.Some scholars have also questioned the construction of cultural and ecological reserves.
For example, Wu Xiaoqun believes that the protection plan for cultural and ecological reserves is a mechanical imitation of foreign practices and does not fully consider China's national conditions.
Therefore, there are four major misunderstandings: First, the initiative and enthusiasm of community people to participate are difficult to play normally; Second, the development of local communities is immature, and excessive intervention of administrative and market forces can easily deviate from the original intention; Third, most of the intangible cultural heritage has withdrawn from daily life or lost its social functions and has become cultural relics, and its existence state is not suitable for protection in cultural ecological reserves; fourth, it is difficult to properly handle the relationship between social development and protection.
Given that it has only been a few years since China joined the Convention for the Protection of Intangible Cultural Heritage, intangible cultural heritage protection is still a new social issue, and the construction of cultural and ecological reserves has just begun, so the discussions by the above scholars are of great benefit.
With the gradual deepening of intangible cultural heritage protection work, the academic community's understanding of cultural and ecological reserves is also deepening, and it has begun to focus on the theoretical origin, policy changes, and practical discussions of the construction of cultural and ecological reserves.
Wu Xiaoqun revised his previous views and believed that "under the conditions of a market economy, if intangible cultural heritage wants to maintain or revitalize its vitality, it must consider the issue of compatibility with the market economy.
Being able to enter the market is a good thing rather than a bad thing, which marks their independence and autonomous social status." Gao Bingzhong emphasized understanding intangible cultural heritage from the perspective of cultural time and space, believing that "the category of time and space is the framework of people's thoughts and behaviors, and the framework of time and space itself is the carrier and expression content of intangible culture." Starting from the cultural and ecological imbalance crisis faced by the inheritance of intangible cultural heritage in China, Huang Yonglin discussed the theory, policies and practice of intangible cultural heritage protection from the perspective of cultural ecology, and made suggestions on the rescue protection, overall protection and cultural ecological protection of intangible cultural heritage.
Several suggestions were put forward for the protection of protected areas.
Song Junhua summarized the theoretical assumptions for the construction of cultural ecological reserves and believed that cultural ecosystems, like biological ecosystems, are dynamic and regional.
Therefore, the construction of cultural ecological reserves should be based on two aspects of experience in practice: one is Natural experience in the construction of ecological reserves, and the other is the ecological protection experience of material cultural heritage.
In fact, there is a lot of discussion in the academic community about the second experience, but there is a lack of reference for the experience of the construction of natural ecological reserves.
Although there are many differences between natural ecological reserves and cultural ecological reserves, the former has been in theory and practice for many years, and all aspects are relatively mature.
At the operational level, they both belong to regional protection led by the government.
The experience of natural ecological reserves should be fully valued.
In terms of the construction practice of cultural and ecological reserves, Chen Huawen and Chen Shujun conducted a questionnaire survey on the 17 cultural and ecological reserves that had been established at that time, from management institutions, rules and regulations, talent team, display and inheritance sites, capital investment, protection of inheritors, A detailed analysis was carried out in ten aspects, including digital protection,"three-entry" project, publicity and popularization and research, and other practical explorations, and suggestions were put forward for the problems found in the survey.
Chen Qinjian and Yin Xiaofei emphasized that in the protection of cultural ecology, special attention should be paid to the excavation, sorting, discrimination and protection of various non-textual cultures existing in the form of images, behaviors, minds, oral messages, etc., which can be said to be deeply involved.
There are also scholars who have conducted specific research on the construction of a specific cultural and ecological protection area.
For example, Lin Jifu discussed the functions and construction model of the "Qiang Cultural and Ecological Protection Experimental Zone" from the perspective of post-disaster homeland reconstruction, and Li Yumin discussed the "Southern Fujian Cultural and Ecological Protection Experimental Zone".
Specific construction opinions were put forward.
Li Xiaoyan conducted a countermeasure analysis on the problems existing in the "Regong Cultural and Ecological Protection Experimental Zone", all of which tried to promote the construction of existing cultural and ecological protection zones.
Obviously, at the beginning of the establishment of the National Cultural and Ecological Reserve, academic research was mostly conducted from a macro perspective, with the content mainly focusing on the significance, theoretical basis, government role, overall principles, etc.
of the establishment.
With the advancement of the construction of cultural and ecological reserves, relevant research is gradually being refined, and the specific issues involved are more comprehensive and diverse.
However, the author believes that there is still a need to further explore the temporal and spatial issues of the construction of cultural and ecological reserves.
2.
The tension of time tradition: "repetition" and reshaping of daily life
Time is an important dimension for humans to understand the world.
In the field of traditional life, China people's concept of time is very different from that of the West.
The concepts of time such as festivals and rituals are all based on agriculture, patriarchal clan system, and individual life, and are closely related to the rhythm of seasons, natural laws of life, natural time sequence, arrangement of production activities and regulation of family activities.
In the discussion of cultural and ecological reserves,"time" is still an important dimension.
As a spatial area, the cultural ecological reserve has an intrinsic temporal and logical relationship between the generation and development of intangible cultural heritage.
From a historical perspective, the characteristics and functions of specific cultural forms in cultural and ecological reserves are closely related to the politics, society and culture of local traditional society.
The construction of cultural and ecological reserves is carried out in the contemporary context and needs to be in contemporary life.
During time, tradition and modernity are embedded into cultural practice at the same time.
Therefore, in order to realize the protection and development of cultural ecology here, the construction and agreement of time need to be reasonably handled.
1.
Cultural and ecological protection should respect the development context of history and culture
As a characteristic culture of an ethnic group or a region, each cultural style will not be achieved overnight, but will gradually evolve and develop over the long history.
For example, China opera,"it is not a temporary invention by a talented artist, but a long-term common creation of all ethnic groups in China.
It has been created and accumulated bit by many well-known and unknown artists over thousands of years." The primary task of cultural and ecological protection is to explore, sort out and refine the cultural connotation and value of unique cultural forms along the historical and cultural development context, and closely carry out protection around its cultural core.
In the process of identifying a national-level cultural and ecological protection experimental zone, sorting out cultural traditions is an indispensable link.
Take Huizhou culture as an example.
Huizhou Prefecture was established in the third year of Xuanhe in the Northern Song Dynasty (1121) and abolished in the first year of the Republic of China (1912).
However, Huizhou culture has the characteristics of continuity and inheritance, which can be traced back to Shezhou, Xin 'an, Shanyue and other eras before the establishment of Huizhou, and can continue to this day.
Huizhou is "separated by mountains and soil, and the people do not infect other customs." Intangible cultural heritage such as Huizhou opera and Huizhou three carvings cannot be sustainable without the geographical and cultural environment on which they depend and the most active Huizhou people themselves.
Although the administrative divisions of ancient Huizhou have undergone great changes with the development of the times.
The original Jixi County was placed under Xuancheng City, Anhui Province, and Wuyuan County was under the jurisdiction of Jiangxi Province.
However, to protect Huizhou culture, we must take into account the production and lifestyle, folk customs and spiritual pursuits formed by Huizhou people in the course of historical development.
Huizhou culture is mainly characterized by Zhu Xi's Neo-Confucianism, clan society, and Huizhou merchants, and its connotation is very rich.
From the perspective of content, Huizhou culture mainly includes institutional culture such as patriarchal clan system and tenant servant, ideological culture such as Xin 'an Neo-Confucianism and Huizhou Pu Xue, literature and art such as Xin' an literature, Xin 'an Painting School, Huizhou opera, and folk songs and dances, Xin' an medicine, Cheng Dawei's abacus method, etc.
Science and technology, traditional crafts such as She inkstones and Hui ink, folk festivals, life rituals and other rural customs.
In terms of its material carrier, it includes spoken language, ancient books and documents, documents and contracts, as well as cultural relics such as ancient archways, ancient ancestral halls, watersheds, and stone bridges.
Since the establishment of the "Huizhou Cultural and Ecological Protection Experimental Zone" in 2008, relevant parties have focused on these aspects and taken various measures to promote the protection and inheritance of Huizhou culture, and achieved relatively obvious results.
Let's look at the regional culture of the Wuling Mountains.
The Wuling Mountain Area is a geographical area with integrated mountains and rivers composed of the Wuling Mountains, which connects the adjacent areas of Chongqing, Hubei, Hunan and Guizhou.
It is connected by three important water systems: the Wujiang River, the Yuanshui River and the Qingjiang River.
It should be said that the Wuling Mountains are geographically and ecologically integrated, and have roughly the same cultural traditions and ethnic composition.
During the Warring States Period, the Wuling Mountains were governed by Qianzhong Prefecture of Chu.
After the unification of Qin, the area was still called Qianzhong Prefecture.
The Han Dynasty was changed to Wuling County, from which "Wuling" was named.
The Yuan Dynasty piloted a provincial system, and Wuling Prefecture was divided into four provinces of Hunan, Hubei, Sichuan and Guizhou.
Although they belonged to different administrative divisions, they were basically ruled by Tusi until the 13th year of Yongzheng in the Ming Dynasty and the early Qing Dynasty.
The Wuling Mountain Area is an area where Tujia and Miao people gather.
The Tujia and Miao culture in the Wuling Mountains is a unique regional culture that takes the national culture of the Tujia and Miao people who have lived here for generations as the main body, and absorbs and integrates other ethnic cultures.
It is precisely based on this historical context that the Ministry of Culture and Tourism has successively identified three national-level cultural and ecological protection experimental zones, namely the "Wuling Mountain Area, Xiangxi) Tujia and Miao Cultural and Ecological Protection Experimental Zone" and the "Wuling Mountain Area, Southwest Hubei) Tujia and Miao Cultural Ecological Protection Experimental Zone" and "Wuling Mountain Area, Southeast Chongqing) Tujia and Miao Cultural and Ecological Protection Experimental Zone".
In this way, we promote the overall protection of ethnic culture in the Wuling Mountains.
This is true for regional culture.
Intangible cultural heritage, as the core content of cultural ecological protection, must pay more attention to cultural traditions.
"Intangible cultural heritage is various traditional cultural expressions passed down from generation to generation by people of all ethnic groups and regarded as part of their cultural heritage, as well as objects and places related to traditional cultural expressions." The relationship between intangible cultural heritage and traditional culture is reflected in that intangible cultural heritage is an important content and main carrier of traditional culture in contemporary society.
There are three keywords among them.
One is "living presentation".
The important difference between intangible cultural heritage and cultural relics is living inheritance.
Cultural relics are static, and intangible cultural heritage is living inheritance.
The second is "important content".
Chinese traditional culture includes subsets of classics and history, cultural relics, and also intangible cultural heritage.
Intangible cultural heritage itself is an important part of traditional culture.
The third is the "main carrier".
Our national spirit, aesthetic orientation, and value judgment are often condensed in intangible cultural heritage projects such as traditional operas, traditional festivals, and traditional crafts, and are reflected in them.
The protection objects of cultural and ecological reserves are specific cultural forms, while intangible cultural heritage is a prominent representative of cultural forms.
An important prerequisite for the construction of cultural and ecological reserves is to attach importance to tradition and respect historical and cultural development.
2) Cultural and ecological protection must be close to current life
It is true that cultural ecology is a human existence and a living organism that continues to develop forward.
Every era has its culture, and the cultural ecology will continue to change with the development of society.
China is currently in a period of social transformation.
The proposition of cultural and ecological protection in social transformation requires a good handling of the relationship between inheritance and innovation.
If tradition is abandoned, Chinese culture will lose its roots and driving force for development; if it remains complacent and does not move forward with historical development and changes in social conditions, Chinese culture will lose its development vitality.
Chinese culture not only needs to be passed down from generation to generation and protected from generation to generation, but also needs to keep pace with the times and develop forward.
The core of intangible cultural heritage protection is to protect and maintain the survival of intangible cultural heritage.
The most prominent feature of intangible cultural heritage is its living inheritance, which is constantly endowed with the wisdom and creativity of the people in the process of inheritance.
Intangible cultural heritage can only ensure its survival if it participates in the activities of creating spiritual and material wealth in contemporary society and becomes part of the people's daily production and life.
Taking the twenty-fourth solar terms as an example, it is the experience summary and life practice of the ancients based mainly on agricultural production in the Yellow River Basin.
By observing the annual movement of the sun, it is a summary of the experience and life practice of the changing laws of seasons, climate and phenology during the year, and gradually It is used as a time guide by many places and nationalities.
The 24 solar terms were included in the UNESCO Representative List of Intangible Cultural Heritage of Humanity in 2016.
However, for the inheritance of the 24 solar terms, we cannot simply put them in museums for collection and display, nor cannot we rely solely on the promotion of a few restored antique ritual activities.
Instead, we must "participate together and make the culture related to the solar terms a kind of life ritual or even a specific way of life.
Only in this way will the 24 solar terms not just be a traditional heritage left from the past, but become a cultural asset that is constantly reproduced.
Become a material resource and spiritual resource that is cyclical, endless, and always vibrant in our lives." In other words, the twenty-four solar terms form part of contemporary people's daily life and must be passed down in an orderly manner in life to achieve the integration of ancient knowledge systems and contemporary life.
To this day, the spiritual core of respecting nature, respecting life, and harmony between man and nature contained in the 24 solar terms still cannot be ignored as a reference for farming activities and daily life, as well as its role in gathering group emotions and cultural identity.
In recent years, with the development of intangible cultural heritage protection work, the 24 solar terms of health preservation, various folk performances and ritual activities have become more and more popular among the public.
Neither intangible cultural heritage protection nor the construction of cultural and ecological reserves are separated from social development nor from the lives of local people.
Against the background of profound changes in the environment in which intangible cultural heritage such as social structure and lifestyle is formed and maintained, in order to give full play to the contemporary value of intangible cultural heritage, it is necessary to combine the inheritance and promotion of excellent traditional culture with the requirements of the times and continue to inherit.
Promote development.
To build cultural and ecological reserves in a new social environment, whether protecting the overall protection of its natural and cultural environment), creating new economic value for productive protection), or improving people's awareness of conscious protection (media and activity publicity), essentially it is to integrate them into people's production and life in contemporary society and create an overall cultural and ecological environment conducive to the protection of cultural heritage.
Only in this way can it stimulate life vitality and is protection and inheritance in the true sense.
American sociologist Sears believes that tradition is something passed down from generation to generation, but tradition is not a whole.
Every component of it must be accepted, modified or resisted by the recipient.
Therefore, tradition and non-tradition are always intertwined.
Together, creation and invention also exist as a major tradition.
Culture is created by people, people are the carrier of culture, people are constantly changing, and culture changes with people.
People cannot return to their past state, and a certain cultural style cannot completely recover to a certain point in history.
At the same time, cultural metabolism cannot be divorced from the influence of history.
Tradition embodies the dimension of time.
The content and form of some traditional culture we see today have gradually developed and evolved in the long river of history, not its original form.
As the core content of cultural ecological reserves-intangible cultural heritage, it also has relative stability and living rheology.
On the one hand, intangible cultural heritage, as a cultural expression and knowledge practice gradually accumulated by people in long-term production and life practice, is the crystallization of collective wisdom and a concentrated expression of group creativity.
It will not change easily.
This is its stability.
Determined.
On the other hand, intangible cultural heritage, as a product of a certain historical process, must also be closely related to the era in which it emerged.
Human society continues to develop, and different eras have different cultural characteristics.
If intangible cultural heritage wants to maintain lasting vitality, it must also be passed down and developed through the interaction of the times, which is determined by its living rheology.
Time moves forward continuously.
In this sense, the current cultural and ecological protection is connected with tradition and leads to the future.
"Cultural and ecological protection focuses on the echo and connection between traditional culture and modern life.
Culture is a flowing river, traditional culture is the source, and modern culture is the flow.
The confluence of sources and sources creates the brilliance of the river of national culture and also makes the life of national culture endless.”
The construction of cultural and ecological reserves cannot separate traditions.
At the beginning of their establishment, we must take into account the historical development of traditional culture.
Respect for tradition must be carried out throughout the construction and management process.
However, at the same time, we must not be complacent because of tradition.
Culture is fluid and daily life is unpredictable.
Therefore, we must also pay attention to the present, stimulate vitality in the contemporary daily life of the people, embody value in the new social environment, and achieve the "steady extension" of specific cultural forms.
3.
The paradox of boundaries: vague cultural boundaries and definite administrative boundaries
The generation and continuation of cultural forms are time-dimensional, and at the same time, they reflect spatial nature when the basic forms are presented.
From the perspective of cultural tradition, China has two important characteristics compared with other countries.
First, the national culture is rich and colorful.
China has a vast territory, diverse geographical environments and large ethnic groups.
Each ethnic group has formed a unique national cultural tradition through long-term production and life practice.
Second, the regional culture is distinctive.
Since the implementation of the prefecture and county system in the Qin and Han Dynasties, China's administrative divisions have been relatively fixed, and long-term developed agricultural civilization has allowed people to relocate.
People attach importance to living on the inherent land, which is conducive to the long-term maintenance of local cultural traditions.
These characteristics have created many cultural forms in China that are relatively stable, diverse and distinctive.
Regarding border issues, as early as the early 20th century, Western academic circles expanded from discussions about civilization to discussions on border issues.
Prominent representatives are sociologists Durkheim and Moss.
In their view,"elements of civilization transcend borders.
Some of them are spread through the expansionary power of certain centers themselves, and some are spread as a result of the relations between different societies.""Civilized areas refer to the geographical extent within which universal phenomena regarded as the hallmark of this civilization can be fully spread...
also refers to the entire area occupied by societies that share the symbols, practices and products that constitute the heritage of this civilization." The spread of culture cannot determine clear boundaries, but cultural and ecological reserves need to set a certain boundary based on administrative divisions.
There seems to be a natural contradiction between the two.
Is this really the case?
1.
There are no clear geographical boundaries for cultural communication
The cultural connotation at the spiritual and institutional levels is formed based on the lifestyle and economic foundation in a certain space, which constitutes the cultural characteristics of a region.
China's specific geographical environment has shaped the cultural characteristics of the Chinese nation to a certain extent.
This cultural trait continues to spread from the birthplace of culture, internalized into cultural identity within the region, and externalized into the same or similar beliefs, customs, art forms, moral concepts, social organizations, economic models, etc.
in a certain space.
This specific space can be regarded as a cultural circle.
However, in the complex cultural ecology and the long process of circulation, it is actually very difficult to clearly mark such boundaries.
The carriers of culture are people, and culture will spread with the flow of people.
This spread will not encounter obvious obstacles due to the boundaries of administrative divisions.
For example, southern Fujian culture is a culture formed in southern Fujian, reflecting the regional form and characteristics endowed by the historical development of this specific region.
However, since the beginning of the Ming Dynasty, southern Fujian people have moved out of southern Fujian in large numbers, colonized Taiwan, and also conducted business overseas.
Wherever southern Fujian people go, they spread southern Fujian culture there.
With the rapid development of modern technology, transportation is becoming faster and more convenient.
Human cultures communicate, communicate, and collide with each other in the era of globalization, and have become a common concern of human society.
Culture is not a self-enclosed system, and the spread of culture has no national boundaries.
Chinese culture has a long, profound and profound history, and has a far-reaching impact on neighboring countries and regions.
French sinologist Wang Demai believes that the Han cultural circle is "different from Hindu and Islamic countries, and its cohesion comes from the power of religion; it is different from Latin or Anglo-Saxon countries, where the national languages of each country are derived from a common mother tongue.
The common cultural foundation of this region originates from the Chinese characters that originated in China and are common in neighboring countries." In the long-term historical development process, many cultural matters in neighboring countries and regions of China have close relations with Han culture.
For example, the broad clothes, round shirts, and Tang clothes in the Korean costume culture were influenced by the court costumes of the Tang and Song Dynasties in China.
As one of the important traditional festivals in China, the Spring Festival has become an annual large-scale cultural festival in New York, Paris and other European and American cities.
Many activities are organized by local governments and become local sightseeing and tourism projects.
Many of the intangible cultural heritage projects recognized by UNESCO have attributes shared by many countries, and the organization encourages multiple countries to jointly apply for the same project.
The Mongolian long-tune folk songs jointly declared by China and Mongolia are typical representatives of them.
Within the same country, culture will also spread beyond the scope of inherent administrative divisions.
Taking the spread of opera as an example,"A kind of vocal tune is spread from one place to another, always according to the habits of the local people, combined with the local dialects and sounds, and local folk songs, to transform the original singing to form a local vocal tune." Culture will also spread beyond ethnic groups and be shared by other ethnic groups.
The Zhuang bronze drum custom in the "Tonggu Culture Hechi Ecological Protection Experimental Area" has a history of more than 2700 years and has been included in the list of national intangible cultural heritage representative projects.
In addition to the Zhuang nationality, the ethnic groups that still use bronze drums today include Buyi, Dai, Dong, Shui, Miao, Yao, Yi, as well as some ethnic groups in Vietnam, Laos, Myanmar, and Thailand.
Relevant art forms include bronze drum ballads, bronze drum congratulatory songs, bronze drum inspirations, etc.
Although these ethnic groups are scattered in different places, the cultural traditions of bronze drums are similar, and cultural exchanges are very frequent.
2) Determine the clear scope of cultural and ecological reserves
The construction of cultural and ecological reserves is a cultural project.
In order to clarify responsibilities, facilitate management, and better promote the implementation of various measures, a clear geographical scope needs to be clarified.
For example, the "Southern Fujian Cultural and Ecological Protection Experimental Zone" involves 29 counties in Xiamen, Zhangzhou and Quanzhou, with a total land area of approximately 25,000 square kilometers and a total population of approximately 17.47 million.
The 21 national-level cultural and ecological protection experimental zones that have been identified by the Ministry of Culture and Tourism are divided into the following four situations according to the administrative areas covered.
1.
2 cross-provincial cultural and ecological reserves)
The "Huizhou Cultural and Ecological Protection Pilot Zone" involves Huangshan City, Jixi County, Anhui Province, and Wuyuan County, Jiangxi Province).
The "Qiang Cultural and Ecological Protection Experimental Zone" involves Mao County, Wenchuan County, and Li County in Aba Tibetan and Qiang Autonomous Prefecture in Sichuan Province, Beichuan Qiang Autonomous County in Mianyang City, Songpan County, Heishui County, and Pingwu County), Ningqiang County and Lueyang County in Shaanxi Province).
The areas under the jurisdiction of the Cultural and Ecological Reserve have similar geographical environments, similar historical backgrounds, and the culture is in the same line.
However, due to administrative division adjustments and other reasons, different higher-level administrative departments will be involved.
These two cultural and ecological reserves both involve two provinces.
The two provinces have the advantages of coordinating the promotion of cultural forms, facilitating the promotion of people's cultural identity, and easily forming a consensus on protection.
However, the drawback is that coordination and management are difficult, which is not conducive to the formation of a continuous cooperation mechanism.
Usually, each person promotes the work and it is difficult to form a synergy.
2.
In the same province and municipality) 6 cross-city cultural and ecological reserves)
The "Southern Fujian Cultural and Ecological Protection Experimental Zone" involves Xiamen City, Zhangzhou City, and Quanzhou City in Fujian Province, with a total of three cities.
The "Jinzhong Cultural and Ecological Protection Experimental Zone" involves Jinzhong City, Shanxi Province, Xiaodian District, Jinyuan District, Qingxu County and Yangqu County of Taiyuan City, Jiaocheng County, Wenshui County, Fenyang City and Xiaoyi City of Lvliang City, a total of 3 cities.
The "Northern Shaanxi Cultural and Ecological Protection Experimental Zone" involves Yan 'an City and Yulin City in Shaanxi Province, with a total of two cities.
The "Wuling Mountains and Southwest Hubei) Tujia and Miao Cultural and Ecological Protection Experimental Zone" involves Enshi Tujia and Miao Autonomous Prefecture in Hubei Province, Changyang Tujia and Miao Autonomous County in Yichang City, and Wufeng Tujia and Miao Autonomous County, with a total of 2 cities and prefectures).
The "Hakka Culture Western Fujian) Ecological Protection Experimental Zone" involves Changting County, Shanghang County, Wuping County, Liancheng County, Yongding District, Longyan City, Fujian Province, and Ninghua County, Qingliu County, and Mingxi County, Sanming City, a total of two cities.
The "Wuling Mountains and Southeast Chongqing) Tujia and Miao Cultural and Ecological Protection Experimental Zone" involves Qianjiang District of Chongqing City, Shizhu Tujia and Miao Autonomous County, Pengshui Miao and Tujia Autonomous County, Xiushan Tujia and Miao Autonomous County, Youyang Tujia and Miao Autonomous County, and Wulong County.
These cultural and ecological reserves are all within one province and municipality directly under the Central Government, but span multiple municipal administrative regions.
In order to jointly carry out the construction of cultural and ecological reserves, a leading group has been established at the provincial level.
Under the unified leadership of the leading group and with overall coordination by the cultural authorities, relevant work can be carried out in an orderly manner.
However, if there are too many cities involved and the area is too large, there is still the problem of insufficient coordination in practice.
3.
11 cultural and ecological reserves in the same city)
The "Regong Cultural and Ecological Protection Experimental Zone" involves Huangnan Tibetan Autonomous Prefecture, Qinghai Province.
The "Hakka Culture Meizhou) Ecological Protection Experimental Zone" involves Meizhou City, Guangdong Province.
The "Wuling Mountains and Xiangxi) Tujia and Miao Cultural and Ecological Protection Experimental Zone" involves Xiangxi Tujia and Miao Autonomous Prefecture in Hunan Province.
The "Weishui Cultural Ecological Protection Experimental Zone" involves Weifang City, Shandong Province.
The "Diqing Ethnic Cultural Ecological Protection Experimental Zone" involves Diqing Tibetan Autonomous Prefecture, Yunnan Province.
The "Dali Cultural and Ecological Protection Experimental Zone" involves Dali Bai Autonomous Prefecture in Yunnan Province.
The "Tonggu Culture Hechi) Ecological Protection Experimental Area" involves Hechi City, Guangxi Zhuang Autonomous Region.
The "Qiandongnan Ethnic Cultural and Ecological Protection Experimental Zone" involves the Qiandongnan Miao and Dong Autonomous Prefecture of Guizhou Province.
The "Hakka Culture Gannan) Ecological Protection Experimental Zone" involves Ganzhou City, Jiangxi Province.
The "Gesar Culture and Guoluo Ecological Protection Experimental Zone" involves Guoluo Tibetan Autonomous Prefecture in Qinghai Province.
The "Tibetan Culture Yushu) Ecological Protection Experimental Zone" involves Yushu Tibetan Autonomous Prefecture in Qinghai Province.
These cultural and ecological reserves are guided by provincial cultural authorities and implemented by a city.
They have high work efficiency and good implementation results.
For example, in December 2012, after the "Qiandongnan Ethnic Cultural and Ecological Protection Experimental Zone" was approved as a national-level cultural and ecological protection experimental zone, the People's Government of Qiandongnan Miao and Dong Autonomous Prefecture immediately centralized the specific work of the management and construction of the cultural and ecological protection zone to the state intangible cultural heritage protection center, and added a cultural and ecological protection zone management section with fixed staffing and personnel.
The center is a fully funded public institution at the deputy county level directly under the State Bureau of Culture, Radio, Television, Press and Publication, with a staff of 5 people, providing personnel guarantee for the construction of cultural and ecological reserves.
At present, 16 counties involved in this cultural and ecological reserve have successively established intangible cultural heritage protection centers to be responsible for relevant work in their respective jurisdictions.
In order to strengthen cultural and ecological protection, Qiandongnan Miao and Dong Autonomous Prefecture has successively issued a series of local regulations and policies and measures, covering many aspects such as the construction of cultural and ecological reserves, the protection of ethnic cultural villages, ecological environment protection, the protection of traditional villages, and intangible cultural heritage protection, forming a relatively comprehensive policy system.
Some work has been at the forefront of the country and played a leading role.
4.
2 cultural and ecological reserves in the same county)
The "Marine Fishery Culture Xiangshan) Ecological Protection Experimental Zone" involves Xiangshan County, Zhejiang Province.
The "Rap Culture Baofeng) Ecological Protection Experimental Zone" involves Baofeng County, Henan Province.
The people's governments of the two counties attach great importance to it and have taken various measures to actively promote the construction of cultural and ecological reserves.
Xiangshan County has specially established the "Xiangshan County Marine Fishing Culture Xiangshan Ecological Protection Experimental Zone Management Bureau", which closely focuses on the characteristics of marine culture and has achieved good results in maintaining the fishing cultural atmosphere, popularizing society, and cultivating young people.
Baofeng County has established a work leading group with the county magistrate as the team leader, the propaganda department and the deputy county magistrate in charge as the deputy team leader, and relevant leaders of the Culture, Radio and Television Bureau and other departments and the main leaders of various towns and key villages participated; established the Intangible Cultural Heritage Protection Center of Baofeng County with a staff of 5 people; established a local expert committee with 9 members; In addition, social organizations such as the Intangible Cultural Heritage Protection Association, the Rap Art Research Association, the Baofeng Culture Research Association, the Majie Book Society Research Association, the Qingliang Temple Ru Porcelain Association, the Gaotai Music Association, the Acrobatic Magic Association, the Quyi Association, and the Music and Dance Association actively participated in the protection work, and more than a thousand cultural volunteers were mobilized to participate, forming a work pattern in which the whole society actively participated.
Judging from the above statistics, cultural and ecological reserves vary in size.
From the perspective of implementation results, those involving small administrative divisions are easy to advance and implement; those involving large cross-regional divisions usually implement their own overall plans in actual work, lacking unified and coordinated mechanisms and measures.
Therefore, setting the scope of cultural and ecological reserves must pay attention to not only the integrity of cultural traditions, but also the effectiveness of administrative management and the unity of policy formulation.
It is necessary to establish a mechanism for planning coordination and policy coordination.
Although cultural and ecological reserves have a regional scope, they should not become barriers to cultural exchanges and interactions.
Encouraging mutual appreciation, exchanges and mutual learning, and common development among different cultural styles is the important significance of intangible cultural heritage protection.
"Local cultural traditions are not closed and self-sufficient traditions, not self-speaking traditions, nor are they self-indulgent traditions.
It is a tradition that constantly communicates with cultural traditions and constantly contacts and compares with surrounding local traditions to show its existence.
Without big traditions, local traditions will have no support; without the mutual assistance and mutual foil of other local cultural traditions that grow up with them, specific local traditions will lose their significance for growth." In the process of building cultural and ecological reserves, it is necessary to properly handle the relationship between local and ethnic cultural traditions and the major cultural traditions: in the process of building small traditions, an open and inclusive attitude should be adopted.
On the one hand, we should fully praise the cultural traditions of our region and nation to enhance our sense of identity and pride; on the other hand, we should not rest on our laurels and immerse ourselves in cultural self-sufficiency and cultural narcissism.
As emphasized in the "Ethical Principles for the Protection of Intangible Cultural Heritage","Mutual respect and mutual appreciation of intangible cultural heritage should be established in interactions between States parties, communities, groups and individuals." The dynamic and lively nature of intangible cultural heritage should always be respected.
Authenticity and exclusivity should not constitute problems or obstacles to the protection of intangible cultural heritage."
UNESCO has a special clause in the representative application form for the intangible cultural heritage of mankind set up, requiring States parties to confirm that "including this heritage item on the list will help ensure the visibility of intangible cultural heritage and improve its importance.
Awareness of significance, promote dialogue, thereby reflecting the world's cultural diversity, and help witness human creativity." While protecting cultural characteristics, cultural exchanges and interactions should also be promoted.
The UNESCO Intergovernmental Committee for the Protection of Intangible Cultural Heritage approved the inclusion of the "Tibetan Medicine Medicinal Bath Method-Tibetan Knowledge and Practice on Life, Health and Disease Prevention and Control in China" in the representative list of human intangible cultural heritage, affirming that "the traditional and institutionalized practices of this heritage project create synergy, promote respect among different practice groups and stimulate dialogue between other communities on health and disease prevention practices."
Cultural exchanges between different regions are inevitable.
On the one hand, we must promote exchanges and mutual learning between different cultural forms, and on the other hand, we must maintain our own cultural characteristics.
We cannot blindly reject foreign culture in the name of cultural security, nor can we blindly accept or surrender in the name of cultural openness, thereby losing our own foundation.
Characteristics are the most important value of cultural forms.
Maintaining characteristics is the original intention of building cultural ecological reserves."Communities, groups and individuals should never be alienated from their own intangible cultural heritage." Whether it is a specific intangible cultural heritage project or a specific cultural form, it will be continuously recreated in the process of historical development combined with local knowledge.
In its interaction with the surrounding cultural environment and nature, it will become a contemporary practice for local people to inherit excellent traditional culture.
Practice, in community, intergenerational, and inter-ethnic dialogues, plays multiple social and cultural functions such as reshaping social connections.
4.
Conclusion
An important feature of cultural and ecological reserves is to consider and promote the protection of cultural heritage and the protection of the external environment on which it depends for survival and development.
Expanding from the protection of a single intangible cultural heritage project to the protection of the living space and cultural ecology of intangible cultural heritage is not only an expansion of the scope of protection, but also a deepening of the concept of intangible cultural heritage protection.
It conforms to the overall nature of intangible cultural heritage, and adopts a more scientific and reasonable protection method.
From the perspective of time and space, the key to the construction of cultural and ecological reserves lies in how to create a regional environment that is suitable for the protection and inheritance of local cultural heritage and conforms to the long-term social development trend.
By building a natural and cultural space with profound historical and cultural heritage and distinctive characteristics, realize the construction of the relationship between man and nature, man and society, man and history, and man and self.
As a specific cultural practice, the construction of cultural ecological reserves must not only consider the inherent attributes of culture, but also consider the needs of practical work.
The author attempts to put forward several thoughts on the construction of cultural ecological reserves from the perspective of time and space.
First, the core of cultural and ecological protection is people.
Regardless of the temporal dimension or the spatial dimension, people must be considered as the main body.
People create culture, the culture they create affects people, and people continue to influence new culture.
The two continue to influence each other and promote the continuous development of culture.
The essence of the construction of cultural and ecological reserves is to restrict and regulate people's behavior within a certain spatial range to maintain an environment conducive to the inheritance and development of traditional culture.
In turn, effective maintenance of cultural ecology will promote the all-round development of people.
Therefore, people-centered approach should always be the starting point and foothold of the construction of cultural and ecological reserves.
The fundamental reason for evaluating the effectiveness of the construction of cultural and ecological reserves lies in whether a good cultural ecology can be maintained, whether local people benefit from it, and whether community people can enhance their sense of participation, identity and gain through the construction of cultural and ecological reserves.
Second, the fundamental driving force for cultural and ecological protection is people's lives, and it is people's construction and maintenance of cultural ecology in the arrangement of their own life.
When the protection of cultural traditions becomes people's means of livelihood or an indispensable part of people's spiritual life, traditions are naturally integrated into people's daily lives, and they have the continuous motivation for inheritance and development.
Cultural and ecological reserves need to shape social culture, promote the integration of excellent traditional culture into the daily life and social development of local people, achieve a balance of self-regulation and development, and ultimately achieve the economic, political, cultural, social and ecological development of the region.
Sustainable development, comprehensive and effective protection of cultural heritage.
Third, cultivating people's cultural consciousness in the region is the fundamental purpose of the construction of cultural and ecological reserves.
The construction of cultural and ecological reserves is inseparable from the support of the government, as well as the extensive participation of relevant communities, groups or individuals.
At the current stage of social development, it is necessary to continuously improve the protection mechanism of government-led, social participation, and public entities, give full play to the role of experts and scholars, fully absorb public participation in the entire protection chain such as policy formulation, measure implementation, and activity awareness, and ensure cultural and ecological protection.
Extensive participation and the results of protection are shared by everyone.
It is necessary to insist on respecting the dominant position and rights of local people and give full play to their core role so that they can realize the protection and inheritance of cultural heritage while adapting to the surrounding environment on a conscious and voluntary basis, and obtain spiritual enjoyment and economic benefits from it.
Fourth, maintaining cultural diversity is an important goal in the construction of cultural and ecological reserves.
We must not only base ourselves on the cultural characteristics of the region, protect intangible cultural heritage, material cultural heritage, natural environment and other aspects, but also pay attention to exchanges and mutual learning with other cultures; we must not only respect cultural traditions and historical development, but also pay attention to the needs of the times and current life, and continuously enrich cultural connotations and expressions through historical interactions.
Fifth, integrate cultural and ecological protection into the coordinated development of regional economy and society as a whole.
Cultural and ecological protection is not a purely cultural adjustment, but involves all aspects of people's production and life, not only in rural areas, but also in urban and rural areas.
Cultural and ecological protection can only have sustained momentum in the context of urbanization, combined with the integrated development of urban and rural areas, and play its unique role in promoting social governance.
Sixth, cultural and ecological reserves should play an important role in building a strong sense of community for the Chinese nation and enhancing the cultural identity of the Chinese nation.
China has a vast territory, many ethnic groups, and profound traditional culture.
Although each ethnic group has its own unique cultural forms, they are all inseparable and important parts of Chinese civilization.
Although each ethnic group has its own cultural characteristics, in the long-term historical development, through mutual exchanges and integration, a Chinese civilization with a common way of thinking and value pursuit has been formed.
Each distinctive cultural form is equally displayed, exchanged and developed together in the diverse and integrated pattern of Chinese culture.
The construction of cultural and ecological reserves is to strengthen cultural identity while respecting differences, form cultural consensus while tolerating diversity, and achieve a harmonious development state in which "each has its own beauty, the beauty of beauty, and the world is united." Fei Xiaotong said.
(This article is published in "Folk Customs Research", issue 3, 2020, with the annotations omitted, see the original issue for details)