At the beginning of twenty-first Century, the social public to the heritage protection China intangible cultural attention, to participate in the protection of enthusiasm, and promote the China non-material cultural heritage protection work, become an important event China cultural circles and even Chinese society. About the connotation of "intangible cultural heritage" is a word from the majority of the people, to the "intangible cultural heritage" become make known to every family of vocabulary, it is generally the representational form a certain cognitive, and support or to actively participate in the protection work, shows that people have seen in the modernization process in the background,, because of the change of the improvement of living standards and way of life are disappearing rapidly, as the traditional social environment people's way of life and production of the intangible cultural heritage of the reality, and the reality, will the human society sustainable development prospect irreparable. Therefore, the comprehensive protection of intangible cultural heritage has become the consensus of the whole society. However, the protection of intangible cultural heritage that the subject of the times should be how to answer, the answer is not the same. The reason of the inconsistent, mainly is the contradiction between economic development and from the protection of intangible cultural heritage. The intangible cultural heritage as simple economic resources, over exploitation of distorting its essential characteristics in the protection under the name, such as the original ecology dance folk change for superficial fashion stereotype performance service to tourist sites, or the traditional handicrafts as does not have the economic potential of the project and its type, etc.. In recent years, a phenomenon we are common in the city especially in rural construction, with the new building or new environment form will be carrying a specific area of the people from generation to generation material carrier of culture and art (such as certain cultural space) completely change. This can not correctly grasp and deal with the social development and the protection of intangible cultural heritage relation, has been and still the protection of intangible cultural heritage harm. We should face up to and change the phenomenon. No doubt, the protection of intangible cultural heritage is a dynamic process. The right protection is not it solidified and stop the development. In October 17, 2003 UNESCO by the "protection of Intangible Cultural Heritage Convention" pointed out: "this intangible cultural heritage from generation to generation, adapt to the surrounding environment and interaction with nature and their history is constantly re creation in various communities and groups, provide ongoing sense of identity for the community and the community, so as to enhance the cultural diversity and creative human respect." Effective protection of intangible cultural heritage, fundamentally speaking, is to guarantee its own rules of natural evolution, phase parallel in sustainable development of natural evolution and human society, we can not artificially to interrupt the natural evolution process, also not to artificially make it mutation. I think, this should be the most fundamental significance of protection work, but also protect the most difficult, the most core force.
Non material cultural heritage in the natural evolution pattern is various, which determines the protection we take should also be diversified. But for the traditional handicraft items, take the productive protection should be an appropriate way. In this way, can make the Intangible Cultural Heritage Inheritance person, these technology holders will own skills as a means of production and life, not only can get the reward of labor, also can therefore cause the craftsmanship, and the corresponding to their works and the user, so that the inheritance and innovation technology has inspired to create the foundation of wisdom. This set of "Chinese folk art heritage Oral History Series", recorded the inheritors of art history, how to consummate their skills, and their thoughts on art; show them how to produce protective way, so that these different skills in traditional infiltration into the new art elements, and loved by the people, and they have the economic basis for inheritance.
continues to accelerate, the rapid development of science and technology and the era of global economic integration in the process of human society modernization, more and more national, regional and population were incorporated into the overall pattern of the world changes. To maintain the diversity of human culture, is the sustainable development of human society and is closely linked with the. And the protection of each nation has a unique personality and vigorous vitality of the folk art, is the human culture diversity form do not become Museum and sample different appearance, and the permanent vitality of an important guarantee for life and growth in nature.
Wang Wenzhang, male, born in March 1951, Yamato Hisakohito. Professor, tutor of doctoral students. Vice Minister of the Ministry of culture, Dean of faculty, Chinese art institute director of China intangible cultural heritage protection center.
has published more than 60 words of art theory, review articles, editor of "Chinese scholars in the eyes of the science and the humanities", "the Peking Opera master Cheng Yanqiu", "Mei Lanfang's visit to Beijing Opera", "Atlas of the intangible cultural heritage", "Introduction to Chinese minority opera history" etc.. Won the national culture news prize, award first prize, two prize of Ministry of culture and art science outstanding achievement, the National Book Award, the National Book Award nomination.
adjunct professor of Peking University, Art Institute of China University of Political Science and Law, PhD supervisor of Shandong University, vice president of the Chinese Opera Society, honorary chairman of the society of Chinese Anthropology of art.
Jin Xuan, female, the Han nationality, was born in 1982 in Hubei, wuhan. From 2001 to 2005 enrolled in the English Department of Huazhong University of Science and Technology School of Journalism and communication of advertising department and the Institute of foreign languages, double bachelor's degree.
2005 to 2008 enrolled in the study Chinese art academy graduate, professional direction is Chinese folk art protection project, to obtain a master's degree. During the school participated in the "Chinese Intangible Cultural Heritage Exhibition" at work, "China Gallery" published "Cisse Shenzhou will" one article, and as a national "eleven? Five" key publications "series" China folk art heritage of human oral history "Sealand the heir of Karp" volume contributor. In addition, in the preparation of the "folk arts and crafts" (Chinese Society Publishing House), translation of "Jin Zhongmin" (a collection of paintings English Edition) book.
The general ordered
oral one leaf cloud
the first chapter introduction of Longshan -- Tujia brocade main inheritance
beauty in Mountain -- the words of Zhang Dengchi
Tujia brocade then and now -- Tian Danian interview
Tian Ming eyes of Tujia brocade
second chapter Ye Yucui -- the suffering of a generation of master
I and Tujia brocade -- an interview with Ye Yucui Wang 为义 documentary
the jade elder sister and I talk about Tujia brocade
I know aunt
masters -- Zhang Guangzhun, Wu Liang's memory
third chapter I is from the mountains to come out of
visit Ye Shuiyun
leaf > fourth chapter revisits the cloud
Liu Daie interview
Liu Daiying interview
Liu Daiyu interview
fifth chapter of Tujia brocade says
appendix life and growth in nature from generation to generation
In 2006, I participated in the national "eleven · five" key publications "series" Chinese folk art heritage of human oral history "Sealand" descendants of the Karp interview and finishing work, my mentor teacher Wang Haixia boldly few of us are not a "master of the cottage" students participating in this work. I don't know where start difficulty and difficulties they experience shallow brought, was readily. As this book's interview and finishing, work found, interviews and finishing a book like this, for me, is especially difficult. The heritage of the people, not one or two people, but a group of people, a group of women, generations. So, a lot of my interview inheritance. These successors distribution in Hunan Xiangxi Longshan, Phoenix, Changsha and several, I want to again and again to run a lot of places. Among them, the most key figures -- China arts master Ye Yucui has died, about her data only through the previous interview materials and other people's oral supplements. Later, Karp in the modern development of West Mountain of merit -- Zhang Guang, and when we were ready to go long interview died. My interview is very difficult. In order to do this series, edited by Wang Wenzhang Dean invited relevant experts and scholars to give lectures, and the recommended readings. Wang Haixia teacher under the guidance of my writing this book, aware of the workload and work hard it is very big, therefore, many times to help me make the interview outline...... Having overcome numerous difficulties, I finally managed to complete the task. In a year and a half of finishing the process, I interviewed with Ye Shuiyun, Liu Daie, Ye Juxiu as the representative of a dozen of Tujia brocade heritage, and digital industry leaders and experts. I also have a deeper understanding of the culture of Tujia nationality, folk customs, folk custom, historical evolution and development of Tujia brocade, have more understanding of the 120 kinds of patterns. Before that, I just saw the folk artists and works in Beijing. Through several times in Xiangxi, Wuling, I understand the meaning of this paragraph of word: "North Daba Mountains, through Wushan, south across the Wuling Mountain, is a cultural deposition zone. Many of the ancient culture, in other places have already become extinct or endangered, in this place can still trace can be found. So long and so wide a cultural deposition zone, in China is unique ". We want to thank those who in the long historical development, hinders the nation asked between mountains, rivers, lakes, which objectively the achievements of different style, rich and colorful ethnic cultural heritage. It is the spirit of vegetation shared, extremely precious tones.
"New Zealand the heir of Karp, Tujia brocade and Master inheritance: Oral History" series Chinese folk art heritage of human oral history.
Culture @ 2017