Inheritance, Cultural Legacy and Innovation in Traditional Art – A Case Study of Chinese Innerpainted Snuff Bottles

Intangible cultural heritage is representative of a community’s cultural authenticity and identity and includes oral traditions, performing arts, festive events or traditional craftsmanship which have been inherited over generations (UNESCO, 2003). Each culturally diverse community possesses its own unique and authentic intangible cultural heritage, which is not only an integral element of the soul of a community, but can be a vital resource for generating tourism at the national and local levels. There is little argument that intangible cultural heritage can provide a destination and/or community with a unique selling point and competitive advantage in the global marketplace. Intangible cultural heritage is experiential by nature, thus supports tourists in their desire to have a culturally authentic experience. In the process of commodification, however, intangible cultural heritage is transformed and staged too often and to varying degrees, which can lead to a loss of its authenticity (Alivizatou, 2012; Giudici, Melis, Dessi, & Ramos, 2013). Therefore, an approach facilitating intangible cultural heritage as a sustainable tourism resource is tenuous (WTO, 2012). Despite the increasing attention to intangible cultural heritage and the advice to adopt sustainable approach in the development of intangible cultural heritage as a tourism resource, little research has explored intangible cultural heritage from sustainability perspectives. Therefore, the purpose of this research is to investigate the extent to which the development of intangible cultural heritage facilitates the development of a sustainable tourism resource. To achieve this, the following three objectives were developed. First, to situate the sustainable tourism development literature within the context of intangible cultural heritage; second, to analyse public organisations’ documents in order to determine the extent to which they have facilitated the development of intangible cultural heritage as a sustainable tourism resource; and third, to establish a framework facilitating intangible cultural heritage as a sustainable tourism resource. This study adopted a single case study, with South Korea as a single representative case. A qualitative-dominant, mixed method approach was used in the process of data collection, analysis and interpretation. A total of 131 public documents from six public organisations were analysed for the second objective. Semi-structured face to face interviews were conducted with a total of 25 intangible cultural heritage practitioners and 22 locals; and questionnaires were given to 255 visitors at National Intangible Heritage Centre in Korea and then collected, to address the third objective. The critical interpretive analysis of 131 public documents revealed that overall, Korean public organisations’ goals and strategies have shown a propensity toward economic neoliberalism, mainly by regarding intangible cultural heritage tourism resources as economic tools. To a much lesser extent, they focus on social development such as ICH practitioners’ equity to participation in the decision-making process and/or intangible cultural heritage practitioners’ empowerment. The analysis of 47 interviews with intangible cultural heritage practitioners and locals, and of 255 questionnaires revealed that safeguarding intangible cultural heritage and developing its tourism role share a symbiotic relationship. This study presents a framework to facilitate the growth of the symbiotic relationships. The framework suggests, for the symbiotic relationship to be facilitated, a top-down approach blended with a bottom up approach, cooperation between stakeholders, and entrepreneurship are necessary. This research addresses a gap in the literature and provides the practical understanding of intangible cultural heritage development. The exploratory research on intangible cultural heritage provides a much-needed framework for intangible cultural heritage to be a sustainable tourism resource, which can be groundwork for future academic research. Moreover, the project offers valuable insight into the combination of various intangible cultural heritage development strategies within one destination (i.e., South Korea), in order to reduce overlapping efforts by stakeholders in South Korea and maximise synergies to facilitate a greater range of positive impacts on the development of intangible cultural heritage for communities.

This article conducts an in-depth study on the artistic expression and integration of traditional culture in traditional Chinese medicine art, proposing strategies for innovative paths and practical exploration. Regarding the resonance and innovation in traditional culture, the article emphasizes the urgency of innovation in traditional Chinese medicine art through the exploration of its traditional cultural roots. It also discusses the balance between traditional culture and modern aesthetics. In the diversified exploration of artistic expression, the article pays attention to the inheritance of artistic conception of Chinese painting attempts to integrate contemporary art forms, and explores the application of multimedia technology in traditional Chinese medicine art. Furthermore, the article delves into the reconstruction of cultural symbols and their global dissemination, including the exploration of the connotations of symbols in traditional Chinese medicine culture, innovative methods for symbol reconstruction, and strategies for the international dissemination of traditional Chinese medicine art. Finally, through practical exploration and prospects, the article proposes specific development directions, such as exhibitions and promotion of traditional Chinese medicine art, innovative practices in traditional Chinese medicine art education, and the deep integration of technology with traditional Chinese medicine art. The aim of this article is to provide beneficial insights for the sustainable development of traditional Chinese medicine art, promoting the display of its unique charm on the international stage.

China has abundant intangible cultural heritage resources.However, economic development brings pressure to ecological environment, changes of which have direct influence on the protection of intangible cultural heritage.At current stage, due to lack of strong consciousness of intangible cultural heritage protection in many regions in China, a part of intangible cultural heritage is in imminent danger.Establishment of intangible cultural heritage brands means inheritance and development of intangible cultural heritage, and is also a way of intangible cultural heritage protection.This paper mainly studies on intangible cultural heritage brands from the perspective of ecological protection with an example of protection of intangible cultural heritage in Southeastern Hubei Province.As intangible cultural heritage has tourism value, various countries begin to attach importance to tourism development of intangible cultural heritage.However, unreasonable development is caused for many factors, which cannot inherit or develop intangible cultural heritage but lead to frequent problems in its protection.Establishment of intangible cultural heritage brands is an important way of intangible cultural development as well as inheriting and carrying forward Chinese culture, and formation of intangible cultural heritage brand advantages is the key of enhancing the competitiveness of Chinese cultural enterprises. I.

This article reflects on the conflict between the two main viewpoints of the protection of Chinese martial arts culture and defines the two protection methods of “Safeguarding Authenticity” and “Innovative Development”. This article aims to enhance the vitality and cultural heritage of traditional Chinese martial arts and discusses the protection and development of traditional Chinese martial arts from the perspective of folklore intangible cultural heritage (ICH) protection. Studies indicate that to continue the development of traditional Chinese martial arts from generation to generation, it must adapt to the laws of current social and cultural development. With the goal of improving the vitality of traditional martial arts culture, on the basis of adhering to the inheritance of the core skills of traditional martial arts, it advocates an innovative development mode that keeps pace with the times. Its fundamental purpose is to enable the sustainable and healthy development of traditional martial arts.

China's traditional culture has a long history. Among many cultures, the traditional flower arrangement art is more distinctive. It has been included in the national Intangible cultural heritage list, and has been widely recognized by the academic community. Compared with traditional art forms such as painting and calligraphy, flower arrangement art is unfamiliar to people, and there are relatively few studies on the value of Chinese traditional flower arrangement art. However, with the rapid development of economy and society, People's living standards are improving day by day, and their spiritual and cultural values have been fully enriched. Therefore, as a popular art, flower arrangement has once again returned to the public's view. By analyzing the traditional art style of flower arrangement in China, it is beneficial to improve the education of beauty and inherit and promote traditional culture. The author conducted an in-depth analysis of literati aesthetics and traditional Chinese flower arrangement art style, and on this basis, systematically elaborated on the profound impact of literati aesthetics on traditional Chinese flower arrangement art style.The traditional flower arrangement art in China has an early origin. Throughout history, there have been numerous works created by literati and literati with the theme of flowers, plants, and trees. Flower arrangement mainly refers to the art of combining artificial decoration with natural plants. Due to its poetic shape, dignified and elegant visuals, and the artistic conception of both form and spirit, traditional flower arrangement has been widely respected. As one of the traditional arts, flower arrangement itself has a unique style, possesses national spirit and era characteristics, and is led by literati aesthetics. It analyzes the aesthetic values of ancient literati, In order to clarify the style and characteristics of traditional flower arrangement art, and ultimately expand the influence of traditional flower arrangement art, traditional flower arrangement art will radiate new vitality.

PurposeThe existing metadata frameworks are limited to fully capture unique characteristics of Chinese paper-cutting identified as traditional art and intangible cultural heritage (ICH). Therefore, the paper aims to develop a multi-dimensional metadata description framework tailored specifically for Chinese paper-cutting works. The proposed framework emphasizes both the tangible attributes and cultural significance within the broader context of ICH, covering physical objects, cultural context and technical skills.Design/methodology/approachThe proposed framework encompasses six dimensions: basic attribute, connotative feature, creator, ICH project, inheritor and derived innovation. Elements from existing metadata standards or vocabularies, such as DC terms, CDWA Lite, VRA Core and FOAF are reused in this study. The ICH project and inheritor dimensions draw elements from the “application form of representative projects of national ICH” and “application form for the fifth batch of representative inheritors of national ICH representative projects.” The derived innovation elements are creatively designed to describe derived works from the original paper-cutting work. The framework’s usability was validated by generating Resource Description Framework (RDF) metadata for two specific paper-cutting works named “Flower Cutting Lady” and “Happiness” in Turtle syntax.FindingsThe proposed metadata description framework supports a detailed description of the connotative features of Chinese paper-cutting works. It indicates that the designed multiple dimensions assist the comprehensive and cultural description of paper-cutting works, which would promote digital inheritance through the enrichment of the interpretable and machine-readable cultural heritage metadata.Originality/valueThis paper introduces an innovative application of metadata description framework design and develops a specialized framework that integrates established methodologies with new dimensions tailored specifically for Chinese paper-cutting works. By emphasizing both the tangible attributes and cultural contexts, this study addresses gaps in existing metadata frameworks and proposes a metadata description framework uniquely suited to the nuanced description requirements of Chinese paper-cutting as traditional art.

Current research has considered the possibilities of the influence of traditional and contemporary art on self-presentation among future teachers at the stage of university professional training in the framework of the educational process and students' activities. The purpose of the article is to determine the effectiveness of the implementation of the complex influence of traditional and contemporary art in pedagogical conditions, as a way of organizing and managing the process of forming a culture of self-presentation among future teachers. The research collected data through a questionnaire and the sample consisted of 216 students. The collected data was analysed using statistical methods such as student t-tests and percentages. The main results are that the developed and implemented author's complex of possibilities for the influence of traditional and contemporary art in pedagogical conditions ensures its successful formation in future teachers at the stage of professional training at the university. Keywords: contemporary art; professional training; self-presentation; traditional art.

<p align="center"><strong><em>ABSTRACT</em></strong></p><p><em>The essence of art is creating beauty. Since ancient times beauty is something that is always sought after by humans. The beauty is getting worse due to traditional art increasingly abandoned. Traditional art is all things related to values in a particular community which are maintained purely from generation to generation. In contrast to contemporary art, one of the most prominent and prominent characteristics in contemporary art is the disappearance of boundaries between art. Both forms and styles of fine arts need to be preserved by students as the next generation. The importance of preserving art is part of the preservation of the arts and culture of the nation's heritage. Traditional and contemporary art are taught in the realm of education, especially at the university level through fine arts courses. The purpose of this study is to find out the perceptions of art students on traditional art and contemporary art, so that students as young people can identify and determine their interest in one form and style between traditional and contemporary art.</em></p><p><em> </em></p><p><strong><em>Keywords: Fine Art, Contemporary and Traditional</em></strong></p>

This essay explores how traditional arts impact the lives of older adults, especially those recognized as inheritors of an Intangible Cultural Heritage (ICH). Through the work of elder Bai artist Mrs Zhao Huaizhu, I consider how traditional hand-icrafts and cultural knowledge enhance elder wellbeing and foster intergenerational connections. Mrs Zhao is a master of buzha, a traditional Bai art form where embroidered silk items are filled with wormwood and other aromatic herbs. Recognized as an ICH inheritor, Mrs Zhao invests her silk creations with Bai folklore, local history, and personal narratives. She uses her creations to convey cultural values and impart her individual identity. Engaging in this expressive practice not only gives Mrs Zhao’s life purpose and meaning, but also allows her to contribute to the economic and cultural vitality of her Bai community. This case study underscores the reciprocal relationship between ICH practices and the elders who practice them. Blending folklore methods with gerontological perspectives, the essay makes clear that traditional arts and cultural performances can work to support the quality of life of older adults. While elder artisans may be vital for sustaining traditional knowledge and practices, active participation in these cultural productions also enhance their emotional, psychological, physical, and social wellbeing, which is seldom a consideration in scholarly and governmental conversations about the value of ‘heritage’ conservation efforts.

Intangible cultural heritage is the precious wealth of the human civilization, plays a vital role on blood relation of inheriting national culture. Also is the main content in the process of the tourism experience. Experiential tourism development is the only road of intangible cultural heritage protection. Deal with the relationship between protection and development, intangible cultural heritage protection and tourism development can be implemented benign interaction. In this paper, taking Qinhuangdao as an Example, in combination with the current of the tourism development of intangible Cultural Heritage, to discuss how to realize intangible cultural heritage protection in a way of experiential Tourism development Intangible cultural heritage is an important carrier for the testimony of our history and the Chinese culture, contains the unique Chinese spiritual values, ways of thinking, imagination and cultural awareness, which reflect the vitality and creativity of the Chinese nation. Under the impact of this global trend that the cultural tourism is becoming the demanding core of tourism, the protection and inheritance of intangible cultural heritage, as well as the research on the combination of intangible cultural heritage and tourism are particularly urgent. Particularly tourists involved in the process of tourism activate the traditional culture which has gradually disappeared, Qinhuangdao has a unique intangible cultural heritage, if the rich intangible cultural heritage resources combined with tourism development, and focus on experiential tourism development, find a way of benign interaction in the protection and development, at the same time to promote regional economic development, and also realize the civilization of intangible cultural heritage, so as to achieve an important role of historic preservation Conservation status of the Intangible Cultural Heritage of Qinhuangdao Qinhuangdao has a long history with deep culture, and process abundant intangible cultural heritage. Qinhuangdao municipal government issued the Regulations to strengthen the protection work of intangible cultural heritage for the city at 2007, Qinhuangdao City Intangible Cultural Heritage Protection Work Leading Group was set up, intangible cultural heritage protection institutions has been basically established in the three districts and four counties. At 2009, Qinhuangdao launched a citywide general survey of intangible cultural heritage, and carried out a systematic and comprehensive statistics for intangible projects in Qinhuangdao. In which, five projects are listed as the national intangible cultural heritage, these are Changli ToYongko, Changli folk songs, Funing wind and drum music, the fairy tales of Meng Jiang Nu, Changli shadow. Jieshishan legends and stories, Funing Taiping drums, Funing Tai Huang Gang, Lulong Boyi S 16 provincial project representative inheritors; 32 municipal intangible projects representative inheritors. Recently, Qinhuangdao City Intangible Cultural Heritage Protection Center also specially developed Interim Measures of assessment for Qinhuangdao intangible cultural heritage declare, protection work management system for Qinhuangdao intangible cultural heritage the protection for the provincial, municipal intangible and other endangered projects will also be strengthen, the loss of the project to further strengthen the protection. Intangible projects collection and exhibition hall of Qinhuangdao City is established , to secure those objects and resources with historical value, artistic value, research value and preserve value to be truly preserved and displayed, and gradually create a good atmosphere for intangible cultural heritage protection and the corresponding travel development. The relationship between intangible cultural heritage protection and experiential tourism

By elaborating the meaning, content and value significance of traditional folk art under the protection of intangible Marine cultural heritage, this paper analyzes the characteristics of intangible Marine cultural heritage of traditional folk art and the challenges faced by the intangible Marine cultural heritage, The inheritance of traditional folk art can be realized by building academic research platform, government leading, public participation principle, developing tourism function, building heritage resource bank and other ways, hoping to provide theoretical reference basis for the inheritance of traditional folk art under the protection of intangible Marine cultural heritage.

This is a research paper that takes as its central issue recent contestations and negotiations between Indonesia and Malaysia regarding certain forms of these countries’ intangible cultural heritage. In recent years, there has been an increasing incident in relation with cultural conflicts that happens between these two neighboring countries. These cultural conflicts specifically referred to the traditional performance arts, which has been hereditarily bequeathed by their respective ancestors. Despite the facts that both countries shared the same cultural roots, each side seems has a tendency to despise each other whenever the subject of culture ownership is being brought: both claim for the same cultural rights. Questions on which side is more entitled to the rights became public fierce debates; and it wildly happened especially in the online world through the medium of social networking platform. This paper examines the phenomenon on how should the ownership of authenticity be placed. And since it happens in the modern societies which cannot be separated from their digital personas, the role of social media is inexorably also be addressed. It will link the two identities of the public who is initially mere the audience of the performance then transform into the owner of the cultural product in dispute. This essay begins by a major length discussion about the concept of authenticity in culture, along with the ownership of intangible heritage, the motivation for claiming authenticity, and the protection of cultural property. It will then go on to the topic of the major changes brought by social media in the modern society. Subsequently it will continue to the state of cultural conflict between Indonesia and Malaysia over ‘stolen’ cultural heritage.

Purpose. This paper explores the application and innovation of digital exhibition design in disseminating Chinese Intangible Cultural Heritage (ICH), with a focus on preserving aesthetic qualities such as color symbolism, spatial organization, and material authenticity. By prioritizing these aesthetic elements, the research demonstrates how digital technologies can enhance the visual and cultural fidelity of ICH, ensuring that traditional art forms are not only accessible but also artistically authentic in a digital context. Methodology. The study adopts an integrative approach, utilizing Virtual Reality (VR), Augmented Reality (AR), and 3D modeling to create digital exhibitions for three representative ICH projects: Shadow Puppetry, Woodblock New Year Prints, and Traditional Chinese Medicine. The research process emphasizes aesthetic design principles, covering conceptual development, digital adaptation, and visual enhancement, to maintain the cultural essence of ICH in digital formats. Results. The findings reveal that digital exhibitions can effectively preserve the aesthetic integrity of Chinese ICH by incorporating traditional elements like symmetry, color symbolism, and material authenticity into their design. The analysis highlights how these aesthetic elements enhance the cultural representation of ICH, demonstrating that digital technologies can function as artistic tools that convey cultural narratives faithfully, rather than solely focusing on interaction or accessibility. Scientific novelty. This study contributes a new perspective by emphasizing aesthetic preservation in digital exhibition design for ICH. It offers a detailed analysis of how digital technologies can replicate visual and material qualities, addressing existing gaps in research regarding the balance between cultural authenticity and digital innovation in the preservation of intangible heritage. Practical significance. The insights gained from this study are valuable for museum professionals, exhibition designers, and cultural heritage practitioners. By providing guidelines for integrating aesthetic elements into digital exhibition design, the study supports the creation of digital platforms that are not only interactive but also visually authentic, ensuring that ICH retains its cultural and artistic value in contemporary society.

Traditional martial arts culture in Anhui Province has a strong mass base, but there are few types of traditional martial arts protected by intangible cultural heritage projects. From the perspective of communication, this paper analyzes the dilemma of the inheritance and development of martial arts culture in the new media era, finds out the new opportunities brought by new media technology for the development of traditional martial arts, proposes the strategy of digital intangible cultural heritage transmission of traditional martial arts culture in Anhui province under the background of new media era. It aims to build a long-term mechanism for the inheritance and protection of folk traditional martial arts in Anhui province, and promote the protection and development of wushu intangible cultural heritage projects in Anhui province.

This article describes the artistic phenomenon of Xieyi in Chinese culture, examines the essential characteristics of the Chinese culture of handwritten writing, especially on the example of Taoist images, analyzes their unique value in artistic expression and cultural heritage. The author examines in detail such aspects of the topic as the definition of the culture of free Thought, its historical evolution, its connection with Taoist thought, as well as the cultural meaning and artistic characteristics of Taoist images. Special attention is paid to the detailed analysis of Taoist images in the artistic culture of Xieyi, which allows us to trace their historical origin and evaluate their heritage and innovation in modern art. A historical and cultural excursion into the formation and development of the Xieyi artistic style in Chinese culture allowed us to identify the philosophical and cultural meaning of Taoist images and their reflection in the Xieyi artistic culture. The research was carried out using the methods of deconstruction, comparison, formal and semiotic analysis, as well as the analysis of iconography. As a result of the research, the author comes to the conclusion that the reflection of Taoist images in the artistic culture of Xieyi has a deep spiritual meaning. The cultural significance of Taoist images lies in the fact that they are an integral part of religious rituals, spiritual practice and cosmology. Today, the interaction of Taoist images and modern art is deepening and developing thanks to artists who enrich the methods of expressing art and expand its content and meaning. Such a dialogue contributes to the emergence of new opportunities for the development of contemporary art. The inner artistic culture of free self-expression reveals the value and modern significance of Taoist art, embodies the aesthetic taste and philosophical thoughts of the Chinese nation with its unique intention for the artistic individual expressiveness of the main idea of the painting. The reception of Taoist images in the artistic culture of the Xieyi is a link between East and West, traditional and modern art, promotes cultural exchange and integration.