Intangible Cultural Heritage In China Research Articles

A study of the Problems of Luoshan Shadow puppet Creative Product Design

With a long history and rich cultural connotation, Luoshan Shadow puppet has become an intangible cultural heritage of China. However, in the midst of modernisation, there are some problems with the design of Luoshan shadow creative products. In this paper, we examined an overview of research into the Luoshan shadow creative products. These products have been criticised for their lack of creativity in all design activities, which has hindered their development. In order to obtain more reliable results, we chose to conduct an extensive questionnaire survey in China. A descriptive analysis of all user data from these questionnaires was carried out. 379 participants' data showed the theme of this study; i. problems of stylistic design; ii. problems of lack of distinctiveness; and iii. problems of overpricing. These findings are beneficial to further research on the innovative design of Luoshan shadow creative products.

A Probe into the Mutual Enhancement between Tertiary Education of Art and Intangible Cultural Heritage in China: A Case Study of Xiamen Bead Embroidery Course by Xiamen Academy of Arts and Design, Fuzhou University

Higher education has recently become an essential path to inheriting ICH in China. This research shows consideration about the protection of ICH. Using the ICH inheriting Xiamen d embroidery class undertaken at the Xiamen Academy of Arts and Design, Fuzhou University, as the evidence and example, this study may present the latest status of China’s ICH protection from the perspective of higher art education. This research contains two parts, one consisting of a general outline of ICH protection and status, in China and globally. Another part discusses the details of a class teaching the ICH art form of Xiamen bead embroidery. In this part, a questionnaire survey on social awareness, higher education, and basic understanding of ICH was conducted. Meanwhile, a scientific model was developed, and, with it, public sense was examined precisely by data correlation analysis according to the questionnaire’s distribution. The R language was used as the technical method for all statistical collation and summary. This research attempts to prove the correctness of the ICH inheriting class, which could be used as a model of an advanced and sustainable educational system featuring the scientific integration of ICH inheritance and higher education in the near future.

Onstage: Exhibiting Intangible Cultural Heritage in China

The intangible cultural heritage (ICH) concept has been operational in China for almost 20 years. One integral part of China’s ICH landscape is a range of exhibition spaces and museums that specialise in the display, performance, and transmission of ICH. Based on two years of ethnographic fieldwork at different exhibition sites, this paper provides insights into what these exhibition spaces look like, how they function, how ICH is exhibited within them, and what exhibitions mean to different heritage actors. The article shows how ICH exhibitions have themselves become a sociocultural phenomenon, bringing together a variety of actors who experiment with different forms of display and types of exhibitions in an ad hoc, spontaneous, and unregulated way. The paper also contributes to the broader discussion on ICH as a political intervention that transforms the cultural practices and expressions it normatively sets out to safeguard.

Research on Digital Inheritance and Promotion of Intangible Cultural Heritage in Ganzi Prefecture ---- A Case Study of Derong Tibetan Folk Model Technique

With the continuous development of information technology, digitalization has become an indispensable way to inherit and promote intangible cultural heritage. This paper analyzes the advantages of digital inheritance and promotion from the perspective of the problems and shortcomings of the intangible cultural heritage in Ganzi Prefecture under the current traditional inheritance mode. Combining excellent works of digital innovative inheritance and promotion of intangible cultural heritage in China and cases of digital cross-border cooperation between intangible cultural heritage and other things, taking Derong Tibetan folk car model technique as an example, this paper explores the digital inheritance and promotion path of Ganzi Prefecture's intangible cultural heritage from the aspects of building digital museums, building intangible cultural heritage brands and building digital online sales platforms. To help the healthy development of Ganzi Prefecture's intangible cultural heritage.

Research on the Protection of Intellectual Property Rights of Intangible Cultural Heritage

intangible cultural heritage (ICH)is a valuable crystallization of human wisdom, but the protection of ICH in China is facing many challenges in practice. The modern intellectual property rights system can only cover part of the ICH, and the defects of the intellectual property rights system itself may lead to the excessive commercialization of ICH, which is contrary to the protection purpose of inheriting and promoting ICH, forming a misunderstanding in the practice of ICH protection. From the perspective of the characteristics of ICH and the purpose of protection, we will clarify the subjects of rights and put forward legislative proposals for classification and diversified protection.

Research on Packaging Design of Cultural and Creative Products Derived from the Intangible Cultural Heritage of Gold Foil

With a focus on the development dilemma faced by the industry of gold foil as the intangible cultural heritage in China, the innovative packaging design is blended into the gold foil technology and the product design based on the cultural creation of the intangible cultural heritage to form a new model of packaging design of cultural and creative products. In light of the status quo and problems of packaging of cultural and creative products derived from gold foil in Nanjing, this study is to analyze the outstanding packaging design of cultural and creative products at home and abroad so as to extract the design methods that are locally applicable. Furthermore, this study aims to explore the innovation path of packaging design of cultural and creative products derived from gold foil in Nanjing through practice, and then to provide valuable reference for the establishment of national brands and the inheritance of skills.

Ethical Principles for Safeguarding Intangible Cultural Heritage: How to Protect Intangible Cultural Heritage of Minority Ethnic Groups in China

The “Ethical Principles for Safeguarding Intangible Cultural Heritage” (Ethical Principles) is a set of non-binding, encouraging general principles. As a supplement to the Convention for the Safeguarding of the Intangible Cultural Heritage (Convention) and its Operational Directives, it provides excellent practices that can directly or indirectly influence the intangible cultural heritage for governments, organizations, and individuals. Considering the specific circumstances of the protection of minority intangible cultural heritage in China, the Ethical Principles serve as a necessary supplement to the national legislative framework. The Ethical Principles emphasize the role and status of communities, individuals, and organizations in protecting and inheriting intangible cultural heritage, and advocate for gender equality, youth participation, and respect for ethnic characteristics and cultural diversity, among other international consensuses. These principles can be used as a valuable reference for promoting and improving the protection and inheritance of intangible cultural heritage of minority ethnic groups in China.

Dragon boat culture in Chebei: a case study of narratives of cultural memory in short videos

Chebei Village in Guangzhou is home to the Chebei dragon boat culture, which is an important kind of intangible cultural heritage in China. The cultural attributes and spirit that it contains are essentially cultural memory. Given the rapid development of contemporary technology and the proliferation of new entertainment possibilities, it is imperative that intangible cultural heritage be passed down and developed. By providing a way to preserve the visual and aural memories related to the Chebei dragon boat culture, media can be used to communicate and save cultural memories. In particular, media facilitate memory reconstruction by capturing both the transmission and retention of memories as well as the interactions of villagers of all ages from various households. Furthermore, the bounds of space and time in the offline world can be overcome through new media. Watching short videos on new media platforms allows people who live in or are originally from Chebei to recall, preserve, share, and convey memories from different generations whenever and wherever they are, potentially fostering a milieu of cultural sustainability and spreadability.

Discussion on the Communication of Intangible Cultural Heritage from the Perspective of Light Transmission

Intangible cultural heritage is a cultural treasure formed by the people of all ethnic groups in the long life, production and practice of our country. It is the imprint of the Chinese nation's civilization and crystallization of wisdom. It has a long history and has lasted until now. However, as a product of agricultural civilization, intangible cultural heritage, although it has already returned to people's vision, still seems incompatible with modern society. The effect of traditional "heavy communication" has been questioned, and digital "light communication" has gradually become the mainstream of society. Based on the current situation of the communication of intangible cultural heritage, this paper puts forward suggestions from three aspects: the main body, the form and the content of the communication, focusing on the key issues such as how to focus on the communication of intangible cultural heritage to light the communication, with a view to providing ideas and reference for the communication of intangible cultural heritage in China.

Research on The Functions of Local Government in The Protection and Inheritance of Intangible Cultural Heritage

Intangible cultural heritage is not only the historical memory of a nation and a region, but also the cultural link connecting the feelings of a nation and a region. With the development of the times, the protection of intangible cultural heritage is facing many problems, such as lack of non genetic inheritance and single traditional means of communication. The local government is one of the main bodies of the protection and inheritance of intangible cultural heritage. How to play the role of local government in the protection and inheritance of intangible cultural heritage is a problem worthy of our serious consideration. Taijiquan, originated from Chenjiagou, Jiaozuo City, is one of the first batch of intangible cultural heritage in China. On December 17, 2020, it was listed in the representative list of human intangible cultural heritage of UNESCO. Taijiquan has an important position in China's intangible cultural heritage. Taking Taijiquan as an example, this paper analyzes the current situation and existing problems of the development of Taijiquan, and discusses the functions of local government in the protection and inheritance of intangible cultural heritage.

More Information, Greater Appreciation: The Correlation between Background Information and Aesthetic Judgment of Tourist Crafts.

More information is often correlated with greater appreciation. Drawing on the model of aesthetic appreciation and aesthetic judgment in art psychology, this study aims to investigate changes in tourists’ aesthetic judgments of tourist crafts when provided with different background information. Blue calico, an art form created through white pulp dyeing and printing, is an intangible cultural heritage of China. The photographs used in this study illustrate typical examples of blue calicos that are commonly sold in tourist gift shops in Wuzhen, China. Data from a sample of 133 participants (49 women and 84 men) was analyzed using Two-Way Repeated Measures ANOVA. We examined to what extent respondents varied their assessments of the calicos based on author manipulation of background factors, such as commentaries by the artist or details about the production process. We found that tourists’ impressions of the aesthetics of blue calicos were predicted by background factors, especially those of tourists who were less interested in high arts. Specifically, blue calicos reported to tourists with names that conveyed an auspicious meaning predicted tourists’ assessments of the calicos as more aesthetically pleasing. Explanations of the production process also predicted an increased appreciation of calico aesthetics. Conversely, artists’ commentaries were not significantly correlated with an increased aesthetic merit of calicos. Understanding what may affect tourists’ assessment of art could help those in the tourism industry market souvenirs to drive sales and enhance tourists’ understanding and appreciation of intangible cultural heritage.

Comparative Analysis on Intangible Cultural Heritage Digitization in Chinese and Inernational Journals: A Bibliometric Perspective

In recent years, with the rapid development of digital technology, digitization has become one of the main ways to protect and disseminate intangible cultural heritage (ICH). In this study, 298 papers in the Web of Science (WoS)database and 240 papers in the China National Knowledge Infrastructure(CNKI)database from January 2004 to December 2021 were used as samples to compare and analyze the research on digitization of ICH in China and abroad. By analyzing and visualizing the information of publication time, discipline distribution, country distribution, authors, institutions, and keywords, the results revealed that: (1) Most international research focuses on scientific and technical disciplines, and computer disciplines occupy an important position in the research of ICH digitization. Chinese research, for the most part, focuses on humanities disciplines, and the proportion of computer disciplines is lower than international levels. (2) In recent years, international research involves emerging disciplines such as green sustainable science technology, environmental sciences, environmental studies, remote sensing, and materials science multidisciplinary, but Chinese research has not yet covered the above-mentioned fields. China should strengthen the cross-fertilization between different disciplines, encourage more engineering disciplines to participate in research, and focus on the research and application of emerging technologies. (3) Whether in China or abroad, there is no stable core author group in the field of in the field of ICH digitization. There are few collaborations among authors. (4) In the future, China should stimulate the communication vitality of various research subjects, build an open and integrated innovation ecology, and jointly promote the construction of a collaborative research network for digitization of ICH.

MasterSu: The Sustainable Development of Su Embroidery Based on Digital Technology

Su embroidery, as an intangible cultural heritage of China, is a treasure accumulated by human civilization, but it has been gradually fading from people’s view in recent years. To handle the problems of slow creative output, high learning difficulty, and low production efficiency, and to promote the sustainable development of Su embroidery, this study builds an automatic generation system of Su embroidery called MasterSu, based on the CorelDraw platform. The system can automate the generation of embroidery sketches through area texture filling and color recognition, which allows users to participate in the design process. Finally, the performance and usefulness of the system are verified through user experiments, and it is confirmed that the system can facilitate novice users to understand the embroidery culture, learn the embroidery techniques, and create their embroidery works through the system.

Symbolism in the works of art of jianzhi 剪纸 Jinzhou district

This article examines the symbolism contained in the works of Jianzhi art. As a simple folk art, papercutting in Jinzhou has its own aesthetic and educational style that penetrates the hearts of people and raises them to a higher spiritual level. Jianzhi can represent the spiritual worldview of a certain era in the region. Among the symbolic images, images of animals, plants, figures, objects, hieroglyphs and patterns were studied. Jianzhi's works of art are combinations of various patterns, shapes and motifs that contain deep symbolism. The study of images and symbolic meanings will expand knowledge about the culture and customs of the region, as well as create opportunities for the preservation of this unique art form containing the intangible cultural heritage of China. The article concludes about the uniqueness of the stylistics and symbolism of this art direction in the described region. It is claimed that Jianzhi's works reflect the culture, customs and peculiarities of the Jinzhou district society. From the point of view of intangible cultural heritage, the art of paper cutting in Jinzhou is the artistic embodiment of the material and spiritual culture of the people. It is concluded that it is necessary to preserve this kind of art and the subsequent study of its symbolism in order to preserve the intangible national heritage of China.

Perceived Authenticity and Experience Quality in Intangible Cultural Heritage Tourism: The Case of Kunqu Opera in China

In the era of the experience economy, intangible cultural heritage (ICH) is now much a richer in terms of authenticity, which largely enriches the tourist experience. This study aims to apply authenticity theory to the field of intangible cultural heritage tourism (ICHT) and to analyze the relationship between the dual dimensions of tourists’ perceived authenticity (constructivism and existentialism) and experience quality and satisfaction. A total of 302 valid questionnaires were collected and analyzed using structural equation modeling through a survey of Kunqu Opera, a World ICH in China. The results of this study confirm that the dual dimensions of authenticity (constructive and existential) have significantly different effects on experience quality and satisfaction. Furthermore, with regard to the mediating effect of experience quality, experience quality plays a partially mediating role between existential authenticity and satisfaction. However, constructive authenticity is a positive influence on satisfaction through existential authenticity and experience quality. This article is concluded with a discussion on the theoretical and managerial implications.

Reconfiguration of the brain during aesthetic experience on Chinese calligraphy—Using brain complex networks

Chinese calligraphy, as a well-known performing art form, occupies an important role in the intangible cultural heritage of China. Previous studies focused on the psychophysiological benefits of Chinese calligraphy. Little attention has been paid to its aesthetic attributes and effectiveness on the cognitive process. To complement our understanding of Chinese calligraphy, this study investigated the aesthetic experience of Chinese cursive-style calligraphy using brain functional network analysis. Subjects stayed on the coach and rested for several minutes. Then, they were requested to appreciate artwork of cursive-style calligraphy. Results showed that (1) changes in functional connectivity between fronto-occipital, fronto-parietal, bilateral parietal, and central–occipital areas are prominent for calligraphy condition, (2) brain functional network showed an increased normalized cluster coefficient for calligraphy condition in alpha2 and gamma bands. These results demonstrate that the brain functional network undergoes a dynamic reconfiguration during the aesthetic experience of Chinese calligraphy. Providing evidence that the aesthetic experience of Chinese calligraphy has several similarities with western art while retaining its unique characters as an eastern traditional art form.

A Comparative Study on the Inheritance of "Intangible Cultural Heritage" in China, Japan and South Korea

The inheritance of "intangible cultural heritage" currently exists in the application of inheritance methods, focusing solely on the inheritance mechanism, representative inheritors and group projects. The objectivity of the inheritance is doubtful, and the talent training is flawed. In the current learning and education, the inheritance of skills is more important than theoretical exploration and inheritance. The phenomenon of light management is reflected in every university. This paper compares the intangible cultural heritage of my country, Japan and South Korea, in order to provide reference and approach for the educational inheritance of intangible cultural heritage in China.

Design and Implementation of VR Digital Displaysystem for Tujia Mogus Dance

Virtual Reality (VR) is a research hotspot in the field of computer graphics in recent years, which is widely used. Tujia Maogusi dance is a national intangible cultural heritage of our country and the crystallization of Tujia civilization. This paper takes Tujia Maogusi dance as the research object, combining with virtual reality technology, proposes the design path of VR digital display system based on Tujia Maogusi dance, and applies this path to show the VR digital cultural performance of Tujia Maogusi dance. The research shows that the VR digital display system of Tujia Maogusi dance has certain practicality, interactivity and invasiveness, which provides a reference scheme for the live display of intangible cultural heritage in China.

A Brief Overview of the Development of Intangible Cultural Heritage Protection in China

Intangible cultural heritage is the carrier of the civilization of human society and is a manifestation of cultural diversity in the world. The unique spiritual values, ways of thinking, imagination, and cultural awareness of the Chinese nation contained in China’s intangible cultural heritage are the basis for safeguarding China’s cultural identity and cultural sovereignty. Therefore, the strengthening of the safeguarding of the intangible cultural heritage in China not only suits the need for national development, but also is a necessary prerequisite for the dialogue of civilizations in the international community and the sustainable development of human society. This paper adopts a literature research method to briefly describe the development of intangible cultural heritage protection in China after its accession to the “Convention”. We sorted out four aspects, including the origin of the name of intangible cultural heritage in China, China’s initial efforts to protect the “intangible cultural heritage”, the effective measures taken by China to protect the intangible cultural heritage, and the list of representative items of intangible cultural heritage at the national level. The purpose of this paper is to understand the series of conservation measures established by China for the protection of intangible cultural heritage, as well as China’s contributions to the diversity, protection, continuation, and re-creation of of intangible cultural heritage culture.

Research on the Production Technology and Inheritance Status of Southern Zhejiang Clamp-Resist Dyeing

As a national intangible cultural heritage of China, the southern Zhejiang Clamp-resist dyeing is a kind of blue quilt manufacturing technology used by ancient folk people. This kind of folk homescloths has its own unique folk aesthetic form, and its patterns are mostly monochrome square symmetrical baizi figures, opera figures and auspicious patterns. In the local customs of Zhejiang province, this kind of quilt is often used as a dowry for women when they get married (Zhang, 2010). In this paper, the author made an in-depth investigation and research on the technical details and inheritance of the southern Zhejiang Clamp-resist dyeing.